The New World

Written and Directed by: Terrence Malick

Starring: Colin Farrell, Q’Orianka Kilcher, and Christian Bale

What does it feel like to love? To love completely. To love without fear. To lose that love. To learn to love again. These are the questions I found myself asking after seeing Terrence Malick’s The New World.

Malick’s latest cinematic creation has been described as “visual poetry.” I think it goes beyond the visual and hits the viewer at a whole other level, a human level that cannot be completely described with words. The subtlety in which Malick portrays the subconscious of his characters is simply masterful. For two and a half hours, Malick holds a mirror up to his audience and asks them to look inside. Eye to eye, face to face with what he wants us to see, he teaches us about love and it’s as if we never truly understood it until now.

Malick uses the historical love story between Pocahontas and John Smith to illustrate his lesson. How fitting to have the background of a story about the exploration, cultivation and limitations of love set during a time when the discovery of the Americas was going through the very same motions.

John Smith (Colin Farrell) is portrayed as an explorer with wanderlust at his very core and Pocahontas (played to perfection by Q’Orianka Kilcher) epitomizes everything that is pure and natural. They begin their relationship when Pocahontas saves Smith’s life and is then enlisted to learn the ways of the white men who have invaded her shores.

Farrell portrays Smith as a man who is in conflict with himself. He illustrates this conflict through his eyes, which are always troubled and tortured. Kilcher’s ability to capture Pocahontas’ innocence through the openness and honesty of her facial expressions provides the key to their relationship and makes their chemistry believable. We see why Smith would deem himself unworthy of Pocahontas. His mind betrays his heart so much that he sometimes believes she is a dream.

Is that essentially what love is? A dream of perfection we keep safely hidden within ourselves. Will we know it? Will we be ready to accept it? Malick’s answer to these questions comes later in the film in a line given to the character of John Rolfe (Christian Bale): “Love made the bond. Love can break it, too.” 

To say Malick’s film has heart is an understatement. Heart is what leads him to create. The end result is a film that not only promotes depth and understanding of the human psyche but also illustrates our basic human emotions and our endless search for purpose. In a world where these things become so easy to forget, I feel lucky to have Terrence Malick out there to remind us again.

- Gilliane Lataillade, Resident Advocate

Transamerica

Written and Directed by: Duncan Tucker

Cast: Felicity Huffman, Kevin Zegers, Elizabeth Peña, Fionnula Flanagan

In the movie Transamerica, writer/director Duncan Tucker explores what it feels like to find yourself. Those of you that have seen the movie will agree with this statement (hopefully) but to those that have not, hear me out.

The story follows a male-to-female transsexual named Bree (Felicity Huffman) who finds out she fathered a son one week before she is scheduled to have the surgery that will complete her transformation. We follow Bree as she journeys across the country with her son, Toby (Kevin Zegers), a troubled teen who has been living on the streets. Bree offers to give Toby a ride back to his hometown. Throughout the journey, Bree and Toby develop a friendship. Their bond is tested by the fact that Toby doesn’t know Bree used to be a man or more importantly, used to be the man that was his father. Bree is forced to confront a past she has been working her hardest to forget and therein lays the heart of our story.

Bree is played by the phenomenally talented Felicity Huffman. I am still in awe at her ability to capture the subtle nuances of someone who has lived most of their life as a man and is now trying to “act” like a woman. From her voice down to the way she walks, she makes you forget that she was born an actual woman. She plays Bree as a person who is outwardly vulnerable yet inwardly strong. We are there as she struggles to figure out what it means to be a parent; we watch how she grows and we travel with her on the rocky road of self-discovery.

A supporting cast that includes Elizabeth Peña as Margaret, Bree’s psychologist and friend, and Fionnula Flanagan as Bree’s mother, who longs for the son she never had, are key in understanding the full scope of Bree’s character. The scenes Huffman shares with these two actresses range from heartfelt and poignant to laugh-out-loud funny.

This is not the type of film that evokes a sudden passionate response. Probably because it tackles an unfamiliar topic (transsexuals) by using themes that are familiar (love, acceptance, family). Or maybe it’s because for characters wrought with issues, the story comes across as rather subtle. Either way, you’ll laugh a lot, you’ll cry a little and in the end you’ll leave the theater with a smile on your face. I don’t know about you but that’s what I call good cinema. 

- Gilliane Lataillade, Resident Advocate

Thank You For Smoking ***1/2

Written and directed by: Jason Reitman

Starring: Aaron Eckhart, Katie Holmes, Maria Bello, William H. Macy. Rob Lowe, Sam Elliott, Cameron Bright and Robert Duvall.

If only every film were this easy to review. Jason Reitman’s feature film debut, Thank Your For Smoking, is smart, funny, intelligent, relevant and oh-so entertaining. Reitman, who has been quietly penning the screen adaptation of Christopher Buckley’s acclaimed novel, has been winning awards for years for his ingenious and hilarious short films (check out some of them, including my personal favorite, “Consent,” on www.atomfilms.com), all of which seem to have provided him with the experience (not to mention the sense of humor) necessary to helm his first film. 

Thank You For Smoking is a satirical look at the tobacco industry and the lobbyists who work day in and day out to make sure that more and more people light up a cigarette than eat at McDonalds. At the center of the film is Nick Naylor, played with effortless charm by Aaron Eckhart, Big Tobacco’s chief spokesperson. Eckhart plays Naylor in such a way that we never stop liking nor empathizing with him, no matter how low or dirty the deeds that he does may be (dude, he represents the Cancer Merchants!), and that is indeed an incredible feat.

While Naylor’s charm can easily be credited to Eckhart, as is the case with the level of top-notch acting that lies with the exceptional caliber and nature of the all-around cast (particularly Sam Elliott as “The Marlboro Man” and Cameron Bright as Naylor’s inquisitive son Joey), the film’s success lies solely with Reitman. He never underestimates his audience, never panders nor manipulates nor goes for the easy laugh, but most of all, he always entertains (even as he preaches), and that is what makes Thank You For Smoking truly worth watching.

- Lily Percy, Editor

DVD'S:

Les Amants du Pont-Neuf / The Lovers on the Bridge (1991) *** 

Written and Directed by: Leos Carax (Le-Oscar-a-X) (The Oscar goes to X)

Starring: Juliette Binoche, Denis Lavant, Klaus-Michael Gruber, Marion Stalens, Chrichan Larsson.

!!!Ah!!! French Cinema: With its wonderful collage of reality, singular stunning imagery, extensive experience in humanity and just the right touch of evil. There is no experience like it in the planet—not for the squeamish, but definitely for the hardcore romantics.

Our film begins with an eye opening view of the wretched and forgotten people of the Paris streets. With great despair and misery we are introduced to one of our leading characters, Alex (Denis Lavant). In his world of sleepless nights and crime filled days there is only room for one great love, a muse to justify his insanity. An old broken down bridge is the stage for all of his adventures and aspirations, living within it his only friend, a bitter old man named Hans (Klaus-Michael Gruber) who supplies Alex with the drug that gives him back his sleep every night.

As if by pure coincidence, two people, a man and a woman, are united by fate with seemingly cruel intentions. Together alone on a bridge in the middle of the busy Paris background, Alex meets Michele Stalens (Juliette Binoche, in what I think to be one of her landmark roles). Binoche portrays a melancholy artist that is quickly losing her sight having recently lost the only thing that really mattered to her: true love. Michele reluctantly opens up to Alex, giving him reason to fall in love, and together they embark on a love affair with uncertain paths.

After discovering Michele’s picture plastered all over the city, Alex learns that Michele has been reported missing by the authorities and that her debilitating condition is correctable only if treated in time. Feeling that this will threaten their perfect life on the bridge he decides to keep it a secret from her. Fortunately she finds out by other means and decides that she must free herself from the man that is keeping her captive. The last 20 minutes reveal the final and most surprising twist of this wonderful story. A film three years in the making, Carax spent a fortune building sets and filming some mind-blowing sequences; unfortunately neither critics nor audiences embraced what was a truly grand vision. The tagline for this movie read “Romance... In a most unlikely place;” with its beauty and rare depiction of the true nature of love, The Lovers on the Bridge definitely delivers.

- Juan Marcos Percy, Importer/Exporter

Rent

Directed by: Chris Columbus

Written by: Steve Chbosky

Starring: Anthony Rapp, Adam Pascal, Jesse L. Martin, Wilson Jermaine Heredia, Idina Menzel, Taye Diggs, Tracie Thoms, Rosario Dawson

Fair warning: I loved Jonathan Larson’s musical, “Rent.” Right from the start, I remember reading about it when it made the cover of Newsweek magazine; the buzz about this new Broadway show that would change the face of musical theatre forever was deafening and invigorating. I bought the cast album the day it was released. I was amazed and moved. My room was decorated with a poster of the show. I shrugged off my fear of flying and spent money I didn’t have to go to New York for a weekend and sit in the Nederlander Theatre to watch the show. Twice. Original cast. I’ve seen two different touring productions of the show and you know that when I watch it, I’m probably lip-syncing every single line.

Having said that, you can understand that the filmed version of “Rent” is something I’ve been waiting quite a while for. All these years later, here it is. It even stars most of the people who were in the show when I saw it on stage. That could be where the flaws begin. I’ve read reviews that complain about the fact that the actors are all ten years older, making them too old for the roles they’re playing. I don’t subscribe to that complaint at all, they all look just as twenty something as they ought to. The problem is that while they were fantastic on stage, some of the performances seem too stage-bound. Hands down, the best performance in the film is Rosario Dawson, who had her work cut out for her as she was replacing Daphne Rubin-Vega, no easy task. Although I believe that she DOES have “the best ass below 14^th street.” In the end, Mimi seems completely real thanks to Dawson’s naturalistic performance, not easy to do when you’re singing and dancing about being HIV positive and addicted to smack.

Perhaps because she did such an amazing job, anytime there’s a scene between her and Adam Pascal, the film goes off balance. Pascal rocked the house as Roger in the play. Not so much in the film. Distracting hair aside, his work feels overblown and melodramatic—one wonders if he’s so used to playing the role on stage that he didn’t turn it down the notches necessary for film. Wilson Jermaine Heredia’s Angel seems a bit cartoonish, and too much of Anthony Rapp’s Mark ended up in the deleted scenes. Idina Menzel brings all the humor and sex required; in fact I think the character of Maureen plays out better on screen than in the original play—particularly the “Over the Moon” scene. Taye Diggs does well in the thankless role of Benny, but Jesse L. Martin as Collins and Tracie Thoms as Joanne really stand out.

Chris Columbus’ heavy-handed style of directing is another giant drawback. I do believe that Columbus really tried but the film lacks any kind of subtlety whatsoever. The attempts to “open it up” work only half of the time (“Santa Fe” on the F train and the staging of “Tango: Maureen” are favorite moments and the Life Support scenes are elegantly done) and really not so much the other half (Maureen & Joanne’s engagement party? Roger shouting, “You’re What You Own” from a cliff in New Mexico?). But still, it’s “Rent” on screen.

Musically, I found some inherent flaws that came from not really hearing it in a while; it certainly doesn’t help that in the journey to film some of the songs in the film end sort of abruptly, rather than flowing into the next musical piece the way they do in the show. Dawson has managed to make each song her own (although I miss “Without You” being about Roger/Mimi AND Joanne/Maureen) and Martin’s solo version of “I’ll Cover You” brings down the house and three city blocks around it. (I gotta say, I don’t miss “Contact” at all.) Despite some new punch, the production is very similar, but this made me wonder if the orchestrations of some songs were just dated or were never as great as I remember them to be. In fact, seeing the movie through older eyes was interesting. As much as I still love “Rent” I find that I’ve stopped really believing in what it has to say. When the show debuted it was inspirational, almost a religion. Now I find myself as a cynical 32 year old, rolling my eyes at some moments, thinking it’s a bit of a rose-colored fantasy.

The DVD is pretty sweet. Commentary, documentary, etc. The biggest deal as far as I’m concerned is the deleted scenes. Some that I could not believe got cut (Dawson’s “Goodbye Love” will move you to tears and it’s a crime that it was deleted), some that shouldn’t have even been shot (Roger & Benny meet for drinks?) and an alternate ending that could have redeemed Columbus just a little bit. So is Rent a great film? Sadly, no. Regardless, I love it for the sentimental place it owns in my heart.

- Rick Sayre, Pop-Culture Critic

BOOKS:

Mapping the Edge by Sarah Dunant

People go missing all the time. However, if Anna doesn’t return she’ll be leaving her child an orphan and the people in her life wondering what happened.

This is the premise of Sarah Dunant’s novel, Mapping the Edge. Anna is in Florence, but no one knows why. No one can explain why she didn’t come back when she thought she would or why she hasn’t called, either. The novel jumps back and forth from Italy to England, where Anna’s friend, Estella, awaits word and watches Anna’s child.

Is Anna safe, or is she in trouble? Is there a man involved? Was she delayed due to some unforeseen circumstance, or did she choose to stay? There are two stories, which sometimes mirror one another, but both center on Anna, a fascinating character, and her roles as mother, lover, and friend. Dunant’s novel is compelling and thrilling and honestly the sort of book that you will not want to put down, work and sleep be damned. Surprises and suspense abound, delicious twists that tease you into reading more. A satisfying tale from the author of The Birth of Venus.

- Rick Sayre, Pop-Culture Critic

MUSIC:

SUFJAN STEVENS – SEVEN SWANS

When a friend of mine gave me Sufjan Stevens’ Seven Swans for my birthday this time last year, he said as he handed it to me, in his best Almost Famous impersonation, “This CD will change your life.” He wasn’t kidding. It really did change my life.

As a music lover, and more importantly, as the daughter of a Pastor, I have always been, say, skeptical of “Christian Music.”  I would even go as far as saying that, with the exception of U2, I made it a point to avoid any artist who fell under that maligned category. Partly because of my own prejudice and preconceptions, but mostly because the music that was often delegated to said category really really sucked. That was, of course, until Sufjan Stevens chose to come into my life.

I say “chose” because that’s exactly the way that it feels, like this particular man, with his honesty and poetry and musical compositions that defy all notions of comprehension, chose to give me the gift of his music at precisely the moment in my life when I needed it and could truly understand it. Songs such as “All the trees of the Field,” “In the Devil’s Territory,” “Abraham,” “Size too Small” and one of my favorites, “He Woke Me Up Again,” all of these songs feel like songs that could have served as the accompaniment to so many moments and experiences throughout my life.

And then there’s “To be Alone with you” and “Seven Swans,” two songs that perfectly describe and embody my beliefs and my spirituality in ways that I would never be able to mouth publicly nor with any fathomable language. “I am Lord, I am Lord, I am Lord, he said,” Stevens whispers into my ear. So much of what I love about music—the barely audible breaths taken by a singer, the sliding and strumming of a guitar, of a piano’s foot pedal being gently pressed, the cries of a violin (or in this case, a banjo)—all of these small but penetrating noises that we are not meant to notice but still hear, it is as if Stevens fills all of his music with them, prides himself on their inclusion. And that is exactly how I would describe his music: As songs that are filled with all of the beauty and wonder and spirit of the world that we rarely notice but were undoubtedly meant to hear.

- Lily Percy, Editor

BRUCE SPRINGSTEEN & THE E STREET BAND – Hammersmith Odeon, London ‘75

"I saw rock and roll's future, and its name is Bruce Springsteen.”

- Jon Landau, May 22, 1974

Ever since I first heard Bruce Springsteen’s “Rosalita (Come Out Tonight)” in concert I’ve been trying my hardest to put into words just how the song makes me feel, secretly hoping that my rather limited vocabulary would somehow catch up to Max Weinberg’s pulsating drum beat and Clarence ‘The Big Man’ Clemmons unstoppable saxophone. Just recently, while listening to Bruce’s latest release, the 1975 Hammersmith Odeon concert, an image of Snoopy dancing dawned upon me. Remember how quickly Snoopy’s feet would shuffle when our beloved beagle was dancing along to Vince Guaraldi’s piano tunes? That’s exactly what listening to “Rosalita” does to me.

If I could bottle up the raw energy, passion, sex and youth that exudes from the Hammersmith CD (and the subsequent DVD of the concert that was included on last year’s re-release of Born to Run), I think I would wake up each morning feeling completely intoxicated by the sheer joy and wonder encompassed on this album. Bruce’s music makes me feel alive in ways that I never even knew possible, and that is precisely how his fans, and music critics, have described his music and live performances for years.

The Hammersmith Odeon concert was Springsteen’s first trip to the UK and marked the beginning of the legendary performer’s climb to the top of the critical charts. He was touring in support of the album that would eventually break him, both stateside and across the world, and was already beginning to have his now-famous moniker as “The Boss” follow him around, much to his chagrin. Listen closely to the Hammersmith concert, to staple Springsteen concert songs such as “Jungleland,” “Tenth Avenue Freeze Out,” “Spirit in the Night” and “Backstreets,” and I swear you can hear the sound of a legend being born.

- Lily Percy, Editor

Ne-Yo – In My Own Words

At the age of 23, Ne-Yo’s already made a name for himself.  He’s written songs for Jamie Foxx, Mary J. Blige, Marques Houston and most-notably for Mario (his huge hit “Let Me Love You”). With the release of In My Own Words, Ne-Yo proves that he can hold his own as a singer as well.

In My Own Words is a solid effort with a mixture of ballads, intimate jams and up-tempo tracks.  Inspired mostly by life events, many of the songs deal with the highs and lows of love.  The massive first single “So Sick” is a perfect example of this.  This ballad deals with the agony and allure of listening to love songs after a recent breakup.  Though he’s in a new relationship, he questions whether he’s still in love with his ex on “It Just Ain’t Right.”  On the intimate “Mirror,” Ne-Yo sings about making love in front of a mirror.

He makes a plea for his woman to stay with him on the infectious “Stay,” featuring Peedi Peedi.  Ne-Yo sings about how his woman’s attitude and anger turns him on with the near comedic “When You’re Mad.”

The only downfall here is that the production weakens towards the latter end of the album.  But Ne-Yo’s vocal and songwriting talents are very promising.  By using his talents to share his experiences, he’s able to make a strong connection with listeners.  This is what keeps you pulled in.  If he continues to push himself artistically, he is destined to be a strong force in the music world.

~ Markell Williams, Music Critic

SPOTLIGHT:

JOHN SPENCER

 December 20, 1946 - December16, 2005

            “They say a good man can’t get elected president, I don’t believe that… This is the time of Jed Bartlet, old friend. You’re gonna open your mouth and lift houses off the ground. Whole houses, clear off the ground.”

 With those words Leo McGarry reassures his closest friend Josiah Bartlet that he should be running for President of the United States. It isn’t just the terrific dialogue written by Aaron Sorkin that resonates, but also the brilliance and power with which the actor says these lines that give the words their own special poetry. The actor is none other than the late, great John Spencer.

            John Spencer grew up in New Jersey and left for New York at the age of sixteen. He attended the Professional Children’s School and, in 1963, joined the cast of “The Patty Duke Show” in a recurring role.

            Over the next twenty years, Spencer appeared in a variety of stage works such as “Butterflies Are Free” with Gloria Swanson, an Obie Award-winning turn in “Still Life,” and a Drama League Award for “Execution of Justice,” playing Dan White, the assassin of San Francisco politicians George Moscone and Harvey Milk.

            From the mid-80s through the early 90s, one of the most popular television dramas was Steven Bochco’s “L.A. Law.” John Spencer became widely recognized for his excellent portrayal of attorney Tommy Mullaney, a role he would play for five years of the show’s run.

            Though Spencer’s film career would prove to be consistent, with memorable performances in Albino Alligator, Forget Paris, The Negotiator and Cop Land, he finally came to prominence as White House Chief of Staff Leo McGarry on Aaron Sorkin’s “The West Wing.”

            As the paternal “man behind the curtain” of the Bartlet administration, Spencer plays Leo McGarry with an aged wisdom that, at times, seems more like your favorite uncle than one of the most powerful politicians in the country. With the words “Bartlet For America” ringing in his ears, Leo McGarry convinces his best friend Jed Bartlet to run for the presidency; what results is an extraordinarily intelligent show about the inner workings of the White House senior staff. At the head of it all is Spencer’s McGarry.

            Leo McGarry, though a great character, would never be anywhere near as priceless as he has become in the masterful hands of John Spencer. There are scenes in the evolution of the series that drive straight into your heart and demand your admiration for Spencer and his White House alter ego. Moments like McGarry, a recovering addict to alcohol and pain killers, discovering an intern has leaked information about his struggle with addiction to a member of the opposing political party. Despite the incredibly difficult position this puts him in, McGarry gives the young woman a second chance, as he himself has been given throughout his life. Moments like these seemed as if they were almost effortless for John Spencer, as he brought to the role of Leo McGarry such compassion, intelligence, humor and pride.

            “The West Wing” would be the great legacy that John Spencer left behind. Sadly, in December of 2005, Spencer passed away after suffering a heart attack. Though he is no longer with us as a man, his great legend is preserved in the wonderful performances and timeless characters he blessed us with.

- David Sayre, independent filmmaker/essayist

John Spencer as Leo McGarry on “The West Wing”:

“We have the chance to affect more change in one day at the White House, than any of us will have after leaving this place. We have 365 days left. What do you want to do with them?” 

 “This guy's walking down the street when he falls in a hole. The walls are so steep he can't get out. A doctor passes by, and the guy shouts up, "Hey, you, can you help me out?" The doctor writes a prescription, throws it down in the hole and moves on. Then a priest comes along, and the guy shouts up, "Father, I'm down in this hole. Can you help me out?" The priest writes a prayer, throws it down in the hole and moves on. Then a friend walks by. "Hey, Joe, it's me. Can you help me Out" And the friend jumps in the hole. Our guy says, "Are you nuts? Now we're both down here." The friend says, "Yeah, but I've been down here before - and I know the way out." As long as I got a job, you got a job. Understand?”

 "The streets of heaven are too crowded with angels tonight. They're our students, and our teachers, and our parents, and our friends. The streets of heaven are too crowded with angels, but every time we think we have measured our capacity to meet a challenge, we look up, and we're reminded that that capacity may well be limitless."

FILMOGRAPHY

"The West Wing" (1999-2006)

Ravenous (1999)   

The Negotiator (1998)

Cop Land (1997)

Albino Alligator (1996)

The Rock (1996)

Forget Paris (1995)

"L.A. Law" (1990-1994)

Sea of Love (1989)

WarGames (1983)

"The Patty Duke Show" (1964-1965)