April 24, 2009
Tribeca reviews: Englishman in NY, House of the Devil
NewYorkology film columnist Tim McGonagle was orphaned in a revival theater in Boston, Mass. in the mid-1970s. While other kids were outside playing tag, he was busy absorbing the films of Buster Keaton, Akira Kurosawa and the inappropriate-for-his-then-age, John Cassavettes. Currently he contributes to the “Noir of the Week” film website and maintains a blog of his own. Here’s his first set of reviews from the Tribeca Film Festival.
Things are already in full gear at this year’s Tribeca Film Festival and there are plenty of offerings for people of all tastes. I’ve selected three films fresh from their first showings that give an indication of the fantastic diversity in store for viewers. What would the festival be without a fascinating cinematic biography, a relevant and powerful documentary, and a dynamite horror film ripe for a midnight viewing? Luckily we won’t have to face that question this year.
An Englishman in New York (2008) – North American Premiere
As celebrated British author and performer Quentin Crisp (John Hurt) first lays eyes on New York City his thoughts form in a voice over, “The moment I saw Manhattan I knew I wanted it. The question is, did it want me?”
What follows in director Richard Laxton’s film is a fascinating look at the homosexual icon Crisp in his golden years attempting to remain true to himself while traversing the ebb and flow of New York City’s blossoming gay and lesbian community.
Crisp had achieved fame and notoriety in England after publishing his 1968 memoir “The Naked Civil Servant,” which defied the staid British conservatism of the time with his unashamed open homosexuality and flashy exhibitionism. The book was made into a television film in 1975 that was broadcast in England and America propelling Crisp’s notoriety and earning John Hurt (who reprises his role as Crisp from the first film The Naked Civil Servant) a BAFTA best actor award.
The film begins with the 78 year-old Crisp accepting an invitation to New York in 1981 to do a series of question and answer lectures. These scenes are beautifully rendered in the film as they show Crisp’s effortless charm, dry wit and dignity that came from years of embracing his non-conformity. Outwardly Crisp certainly was a flamboyant character, sauntering the streets in his daily attire of makeup, velvet jackets and rakish hats. He had dressed in such a manner since the 1940s (which made him the target of homophobia-fueled beatings in London for decades.)
Under this posh, recherché surface was a man of uncompromising integrity who stuck to his guns and spoke his mind regardless of the consequences. This quality proved to be a double-edged sword later in life as Crisp received a ferocious backlash from the gay community in New York after he dismissively (yet purposely) called AIDS “a fad” when the disease was in its infancy. Crisp refused to retract his statement as he believed that straight society would view AIDS in such a way that, “homosexuality and disease go hand in hand.”
An Englishman in New York explores Crisp and his ambivalent relationships with the New York gay community and the people with in it. Through his friendships and encounters with sensitive young painter Patrick Angus (Jonathan Tucker,) performance artist Penny Arcade (Cynthia Nixon) and diplomatic magazine editor (Dennis O’Hare,) Crisp’s know-it-all obstinacy erodes and gives way to an understanding of the community and an even greater illumination of himself.
While the film’s pace does lag toward the end, Hurt’s performance is outstanding as the complex and fascinating icon. Crisp was such a riveting character in real life that the foundation was set for Hurt to deliver – and he does magnificently. His depiction is subtle and mesmerizing, laden with the humor and pathos of an emotionally complex and enigmatic man. The script, direction and supporting cast of the film are strong all around. Hurt’s reprisal of the role that put him on the map over 30 years ago delivers something uniquely special not to be missed.
An Englishman in New York will be shown Monday 4/27, Wednesday 4/29 and Saturday 5/02.
American Casino (2009) – World Premiere
 So what did cause this economic malaise that we find ourselves in presently?
While we’ve heard all about the unchecked financial institutions steered by greed and the gap between Wall Street and Main Street, in American Casino documentarian filmmaker Leslie Cockburn explores a full-spectrum view of the crisis from Bear Stearns to the decimated streets of Baltimore.
Cockburn begins the film with a clip of Senator Phil Gramm calling us a nation of whiners and backtracks to his introduction of the Gramm-Leach-Bliley Act in 1999 along with the Commodity Futures Modernization Act of 2000 that repealed financial oversight. Their passage essentially excluded Wall Street and financial institutions from federal and state regulations. This was a key element that opened the floodgates to sub-prime mortgages that amounted to an $800 billion business during 2004-05 alone.
The shell game continued with Wall Street banks competing to buy the loans and repackaging them as good investments to their clients. The film ups the ante with damning evidence, for example, an email from a credit rating analyst at Standard & Poor’s stating: “Let’s hope we are all wealthy and retired by the time this house of cards falters.” Cockburn develops a cohesive big-picture of the major players, intuitions and mind-boggling monetary figures that guide us to the human figures that will resonate as the real “costs.”
The film jarringly shifts from the environment of Wall Street analysts and anonymous executives to Baltimore and high school teacher Denzel Mitchell. His story of house foreclosure is not a unique one as sub-prime lenders heavily targeted minority areas. African-Americans were almost four times more likely than whites to receive sub-prime loans. Cockburn studies the vast ripple effect of the foreclosures in the Baltimore community. From the people forced into shelters and squatting in unoccupied homes to increases in crime, domestic violence, drug abuse and mental health issues — all systemic effects from the housing collapse. It also devastates the local economy as additional resources are needed for more police and housing department workers to board up foreclosed home after home. A one-time home owner in the community (and a reverend, who refinanced her inherited house with a sub-prime loan,) describes her now homeless situation and those similar around her as “…devastating, unbelievable but real.”
On the other side of the country we are shown a bizarre and grim nature of the housing collapse’s environmental toll. In Stockton, California the numerous abandoned homes have become perfect breeding grounds for rodents. The outdoor pools in these houses attract mosquitoes reproducing by the millions. The economic housing collapse is also devastating the eco-system in this area of California.
American Casino is a masterfully rounded and concise documentary. Not only does it have so much knowledge to impart regarding the financial aspects of the crisis, but it gives voice and humanizes the ravaged “Main Street.” Without a heavy hand, director Cockburn shows some very moving and pertinent stories of real-life people in real-life dire situations. And those stories will still be as topical, relevant and current as when you walk out the theater doors after seeing this stellar documentary.
American Casino will be shown Sunday 4/26, Wednesday 4/29 and Saturday 5/02.
The House of the Devil (2009) – World Premiere
An attractive girl babysitting in a huge house out in the middle of nowhere and the creepy parents need to go out and take care of “important matters” on the night of a full lunar eclipse may have some all-too-familiar elements of the horror genre. It sounds a bit hokey, I’ll give you that, but what The House of the Devil will give you is a well-crafted ambiance of absolutely suspenseful and terror-filled 93 minutes that will have you squirming in and jumping out of your seat.
Sophomore college student Samantha (Jocelin Donahue) is in desperate need of money for an apartment she wants to rent. She takes a dubious looking flyer advertising a babysitting job and after a series of bizarre events she is contacted by a Mr. Ullman, who offers her the job. When she gets to the house, she meets the ultra soft-spoken, yet uber creepy Mr. Ullman (Tom Noonan,) and the conditions of the job change: there is no baby, just “mother” upstairs, who needs little if any attention. Mrs. Ullman (Mary Woronov,) makes an appearance looking like a cross between Morticia Adams and Cruella de Vil. Before she and Mr. Ullman set out for the evening, she tells Samantha, “A fine young beauty like you, your mother must worry herself silly.” Things start to get strange in the house and in the end, well, let’s just say that anyone who has ever bought “Fangoria Magazine” will be pleased with the results.
Beyond the gore goods that do eventually get delivered, director Ti West plays with the conventions of the horror genre with the understanding the audience is aware of them as well. He doesn’t brashly exploit and flaunt this aspect, as say the Scream films did. Instead West gives his film a slow, deliberate boil as he sets up the audience with some meta-horror genre hints at the beginning as if to say “you think you’re in the know, but let’s see what I deliver, and just how long can you wait?”
Aesthetically, for example, he uses clever profile shots (when we first “see” Mr. Ullman in this manner it’s absolutely hilarious and brilliant,) and stationary camera placement that focuses attention to Samantha’s movement, adding to the impending sense of dread. This effect doesn’t look like she’s being watched via the killer’s conventional point of view shot. The long shots from the prone camera simply but effectively make us feel like she’s being watched. West continues to torture the viewer by having Samantha dance around with her headphones on full blast in the creepy house alone (ahem,) and various other equally vexing behaviors for the audience to watch.
The film’s ending provides a couple of nice twists and an unsettling conclusion that is sure to please any fan of the macabre. The House of the Devil is one of the most inventive and refreshing horror films I’ve seen in quite awhile. It pays clever homage to the genre’s roots, so if you like the Saw films franchise, this isn’t for you. It’s an intelligent, atmospheric thriller that ratchets up the tension in the slowest increments, which is what a good horror film should do — along with some blood of course. Did I mention there’s some blood. …?
The House of the Devil will be shown Saturday 4/25, Sunday 4/26, Wednesday 4/29 and Saturday 5/2.
Picture credits: (All provided by Tribeca Film Festival)
John Hurt stars as Quentin Crisp in the Leopardrama production of An Englishman in New York. Still by Will Hart.
American Casino Photographer: Phil Geylin
Jocelin Donahue as Samantha in House Of The Devil. Photographer: Graham Reznick.
April 24, 2009 11:02 AM in Downtown, Sightsology
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