Movie Review

Jared Leto as Dr. Michael Morbius in a scene from the film. Photo courtesy of SONY Pictures

Reviewed by Jeffrey Sanzel

There are good superhero pictures. There are memorable vampire films. Some movies fall under guilty pleasures — entertainment for the sake of fun. Then there is Morbius which manages to get almost everything wrong.

Morbius, the Living Vampire, first appeared in Marvel Comics’ The Amazing Spider-Man (issue #101; October 1971). Due to a failed experiment intended to cure a rare blood disease, the former biochemist, Michael Morbius, was imbued with vampire-like abilities. While he became one of Spider-Man’s antagonists, he was also an adversary of Blade, the vampire hunter. (Originally, Morbius was to appear in Blade (1998) but was cut.)

Morbius follows a similar origin story. A prologue in a private clinic in Greece shows genius ten-year-old Michael Morbius (Charlie Shotwell) joined by the younger Lucien (Joseph Esson), whom he dubs Milo. The boys share the same blood illness that requires constant infusions. They form a deep and lasting connection.

Twenty-five years later, Michael (Jared Leto) is now a successful scientist who has just declined the Nobel Prize. He has now received funding to develop a treatment using vampire bats, and he creates a lab on a private vessel in international waters. Unfortunately, the remedy causes him to have vampiric characteristics, and he murders the entire crew. 

He escapes the vessel and returns to New York. Endowed with new powers (strength, speed, reflexes, and super-hearing), he struggles with a bloodlust he staves off with the serum. However, the efficacy and duration become shorter. The now wealthy Milo (Matt Smith) discovers that Michael has found a cure but becomes furious when Michael refuses to share it. Incensed, Milo goes rogue. Meanwhile, FBI agents Simon Stroud (Tyrese Gibson) and Al Rodriguez (Al Madrigal) investigate Morbius’ victims.

While there is nothing original about the plot, in the right hands, the story is potentially engaging. However, Daniel Espinosa’s uninspired direction of Burk Sharpless and Matt Sazama’s inept script make for an anemically leaden, mostly unwatchable hour and a half. 

The dialogue is an insult to clichés. “You get to live, and I get to die,” says Milo. To which Michael responds, “It’s a cure. Forget me, brother.” Later, Morbius says, “Where is the brother I used to have?” Even better is his statement: “I’m starting to get hungry. You don’t want to see me when I’m hungry.” But the nadir is given to Rodriguez, who, looking at one of the victims, is forced to deliver with a straight face: “Those puncture wounds … do they look like fang marks to you?”

Even if The Batman’s noirish cinematography is not to your taste, there is a commitment to style. Here, Oliver Wood provides a murky atmosphere. The desaturation creates a dullness that reflects the film’s lack of energy. When Morbius isn’t drinking his artificial plasma from what looks like Sunny D pouches, there is action, but it feels pedestrian and predictable. The extended fights are not so much by the numbers as they are just numb. Worst of all, the visual effects are bizarre, bargain basement, and just plain annoying. However, it’s a good day to be a CGI bat.

Jared Leto is surprisingly bland in a role that calls for grand strokes. Even when declaring, “I brought this into the world — it’s up to me to take it out,” he lacks passion, running the gamut from A to … well, A. Michael is not so much a mad scientist as a mildly peeved one. He growls and snarls when transformed into the beast, but the ferocity is just above an irritated puppy. 

Matt Smith, best known as the eleventh Dr. Who, has quirky fun with the antagonist, but the homoerotic connection between Michael and Milo is underdeveloped. While the writers hint around the edges (the Spartan reference “We are the few against the many” has multiple levels), they pull punches by introducing a pallid love interest for Michael with scientist Martine Bancroft (Adria Arjona, drastically underused). Poor Gibson and Madrigal have little screen time and even less to do. (Maybe they’ve been spared.)

The epilogue more than hints at a future crossover into the Spider-Verse. Michael Keaton appears in a cameo in the credits as Adrian Toomes, a.k.a. The Vulture. It speaks volumes that ninety seconds in the credits have generated more interest than the ninety minutes of film. 

Sadly, Morbius is not a traditional vampire tale, so it cannot be vanquished by stake, sunlight, or holy water. Morbius says, “It’s not a curse. It’s a gift.” Sorry. You got that reversed.

Rated PG-13, Morbius is now playing in local theaters.

By Melissa Arnold

What is the first thing that comes to mind when you think about pigs? Is it this morning’s bacon or your upcoming Easter ham? Maybe you’re picturing a smelly hog rolling in a dusty barn. Or perhaps your religious or personal convictions leave you saying “No thanks!” almost instantly.

Regardless of how you feel about them, there’s no arguing that the humble pig occupies a prominent place in global culture. From farm to table, predator to house pet, pigs are truly all things to all people.

On March 31, PBS stations nationwide will air Magnificent Beast, a captivating documentary that explores the unique ways pigs and humans relate to one another.

Co-directors Tess and Josh Gerritsen, a mother and son duo, traveled across the United States and around the world to capture the whole spectrum of the pig-human dynamic. Along the way, they met chefs, farmers, hunters, archaeologists, historians, and more, each with a unique connection to the animals. At times, their viewpoints differ so much that it’s almost comical to imagine them in a room together. The film’s strength lies not only in that diversity, but in the great care and respect given to each perspective.  

The idea for a pig-focused film came to Tess Gerritsen, author of the popular “Rizzoli and Isles” book series, while attending a promotional event in Turkey several years ago.

“I found myself craving bacon for breakfast while I was there, but the majority of Turkish people are Muslim, so you can’t find it there,” Tess explained. “It got me thinking a lot about food taboos. What causes certain foods to become off-limits in a society? As [Josh and I] began to dig deeper, we realized that there was something unique about the status held by pigs.”

Josh Gerritsen began his career in short films and photography, but after a while, he needed a change of pace.

“I thought that I was going to live in New York City forever, but I didn’t have a lot of momentum,” he recalled. “I wasn’t making the world a better place, and that really bothered me. So I decided to move back home to Maine, and spent four years in organic farming. That period was also a major inspiration for Magnificent Beast.”

The pair began research for the film in 2016, with Tess, who has a degree in cultural anthropology, taking the lead. She combed through academic journals in search of people exploring the same issues, and found that many of them were based in the United Kingdom and Egypt.

There’s also a local connection among the featured experts: Dr. Katheryn C. Twiss, an associate professor of anthropology at Stony Brook University.

Twiss’ research focuses on social and economic practices in early agricultural and urban societies. As a zooarchaeologist, she studies animal bones and other remains to learn more about past interactions between humans and animals. 

In the film, Twiss explains how pigs have been increasingly domesticated over the course of human history, along with some of the surprising traits that pigs and humans share.

“We were really impressed by the passion Dr. Twiss has for her work, and for pigs in general. It’s clear that she loves what she does, and that was a big part of why we chose to include her,” Tess Gerritsen said.

Dr. Twiss’ curiosity about the ancient world began with an elective class she took early in her undergraduate years.

“Like a lot of people, I had no idea what I wanted to study when I started college. I liked biology, history, languages … and then I took an Introduction to Archeology course and completely fell in love,” she explained. “I thought, ‘Wow, this is awesome! Archeology has everything — I don’t have to choose!’” 

Much of Twiss’s research has been on the Neolithic period (between 5,000 and 10,000 years ago) in southwest Asia. In this period, people were first building large communities and relying on foods that they produced or farmed themselves. Pigs were also domesticated at this time. Twiss said that in some Neolithic societies, carved pig tusks were used as personal adornments, and pig bones were embedded in the walls and buried below the floors of homes for symbolic purposes.

“I’m interested in how humans relate to different kinds of animals — how do we obtain our food? How do we feed ourselves, and what rituals are associated with the way we eat? Pigs are environmentally and socially important, just like cattle,” she added.

When the Gerritsens reached out to Twiss about being a part of their film, she was excited and happy to pull a few skulls from the lab for her segment.

“I enjoyed the film’s deeper dive into the social relationships that people have with pigs, especially as pets. It didn’t make me want to get a pet pig, but it did make me want to meet someone with one so I could visit,” she joked. “I hope that Magnificent Beast helps people develop a greater awareness of the many ways in which people interact — or choose not to interact — with pigs. It highlights both the complexity of pigs and the diversity of human cultures.”

To further highlight this complexity, Josh went on social media to find people who interact with pigs on a non-academic level. Using Facebook, he was able to connect with a number of pet pig owners as well as wild hog hunters.

“I made it clear that I wanted to give everyone a fair say, and after a while it led to some really great conversations and a sense of trust,” Josh said. 

Ultimately, the Gerritsens were able to meet with members of both groups in person. The pet pig owners taught them more about the deep affection, intelligence and social skills of domestic pigs, while the hunters took them along on a nighttime search for dangerous and destructive wild hogs.

“When people think about pigs, they have a tendency to think of a lazy, sloppy animal, but they are so much more than that,” Josh said. “Our goal is to encourage greater respect and understanding for pigs, and to promote more mindful eating when you do choose to eat pork.”

Distributed by the National Educational Television Association, Magnificent Beast premieres locally at 10 p.m. Thursday, March 31 on WLIW Channel 21. The documentary will air on PBS stations nationwide (check local listings) and stream on www.PBS.org. For more information, visit www.magnificentbeastmovie.com.

'The Automat.' Photo courtesy of PJDS

The Port Jefferson Documentary Spring Series continues on Monday, April 11 with a screening of “The Automat” at Theatre Three, 412 Main St., Port Jefferson at 7 p.m.

Chock-full of rich archival footage of old Philadelphia and NYC, this everything-you-wanted-to-know-about-automats film is a lighthearted trip through the history of Horn & Hardart’s iconic and innovative eateries. Led by the irrepressible Mel Brooks, the film also features an impressive roster of celebrities (Colin Powell, Ruth Bader Ginsburg, Carl Reiner, to name a few) waxing nostalgic on their experiences at the nickel-driven restaurants and their dreamy lemon meringue pie. Automats fed millions throughout the Depression and two World Wars, serving all comers in palaces of marble, silver, and steel.

Good food served cheap, and the enduring thrill of the automat machines themselves wins the Automat a place in our culture and hearts alike. More than just entertainment, THE AUTOMAT is a parable of how we once dined happily together before turning to the isolated and unhappy experience offered by fast food, a bad deal that no amount of advertising can disguise. Running time is 79 minutes.

The screening will be followed by a Q&A with Director Lisa Hurwitz moderated by Tom Needham, Host of The Sounds of Film at WUSB radio.

Tickets are $10 per person at the door or at www.portjeffdocumentaryseries.com.

See a trailer of the video here.

 

A scene from 'I Am Here'. Photo courtesy of @Micha Serraf/ Sanktuary Films

By Jeffrey Sanzel

The opening of Jordy Sank’s documentary I Am Here is a montage of news reports from recent anti-Semitic events. It is a visual and emotional assault, with the ever-present and always disturbing swastika. From this, he cuts to a disc jockey at a Jewish radio station talking about Holocaust survivor Ella Blumenthal’s response to a hateful attack from a Holocaust denier. In Blumenthal’s letter, she offers to meet with the author. She wants to answer hate with a connection. 

I Am Here is an account of Blumenthal’s life. Celebrating her 98th birthday in Cape Town, South Africa, surrounded by her children, grandchildren, and friends, she relates her story. 

A scene from ‘I Am Here’. Photo courtesy of @Micha Serraf/ Sanktuary Films

Born in Warsaw, she was 18 years old when World War II broke out in 1939. She lost 23 family members—“dear souls”—sent from the Warsaw Ghetto to the Treblinka death camp. She, her father, and her niece, Roma, went into hiding, but following the Ghetto uprising, the three were deported to Majdanek. She witnessed her father struck down by a guard—which was the last time she saw him. In 1943, she and Roma were sent to Auschwitz-Birkenau (where she was tattooed prisoner 48632) and finally ended in Bergen-Belsen before liberation. 

Blumenthal shares her harrowing journey with passion and raw honesty. Speaking of things that she had held inside for years, her details evoke deep pain. She remembers the smell of burning feathers in the destruction of the Ghetto. She tells of the room in which they were held before deportation. At night, guards would come and take young girls and rape them. 

The camps’ horrors are told in vivid, clear detail. She relates of nearly being gassed but getting a reprieve because the quota of five hundred exterminations had been filled. She describes the hanging of a prisoner after an escape attempt. At one point, Roma was contemplating suicide by throwing herself on the electrified fence. When they arrived in Bergen-Belsen, the camp had become nothing more than a charnel house, with the dead and dying everywhere. But even in this nightmare, she states: “I never lost hope, even in the darkest times of my life.”

She believes it was neither luck nor chance but God that helped her survive. Even in her tenth decade, she shows joy, light, and appreciation for all she has. She strives to bond with people, making visits, going on Facebook, and talking to her niece, who lives in New York. She believes that we must “make friends and show kindness.”

Her post-war life led her to Paris, then Palestine, where she met her South African husband, Isaac. They wed after only knowing each other for thirteen days. After that, they moved to Johannesburg, where they opened a business and raised a family. Her married life is shown in a wealth of home movies.

A scene from ‘I Am Here’. Photo courtesy of @Micha Serraf/ Sanktuary Films

Juxtaposed with her history are clips of her current life: spending time with family, swimming, walking, and even making the Sabbath challah. References to “no food must be wasted” and “the plate must be cleared,” as well as a certain frugality (the use of one tea bag to make multiple cups), are presented with humor tinged with the shadow of one who went without.

What separates I Am Here from similar documentaries is the 2D animation. Created by Greg Bakker, the rough cartoons enhance the narrative with muted colors and stilted movement. These sections are more effective and affecting than the standard archival photos and stock footage that are employed elsewhere in the film. These moving illustrations create haunting images.

At the behest of her husband’s family, Blumenthal had her tattoo removed, an unusual and disturbing request, essentially eradicating her experience. She claimed the resulting scar was from a freak car accident. For years, she did not tell her children about her suffering “because the open wounds were still bleeding.” And yet, the adult children speak of her waking up screaming from nightmares. Blumenthal said that these terrible dreams were of the Nazis taking her children. Unfortunately, these questions and ramifications are not fully addressed. The letter from the beginning of the film is never mentioned again.

Blumenthal touches on some of the things that still haunt her. When speaking of her lost family, she muses, “Every person has a grave to go to. I have none. Not even ashes.” She admits that she had trouble mixing with people after the War for they did not know what she went through. She had to build a family to find a new world.

I Am Here offers a portrait of survival but a celebration of life. Blumenthal demonstrates gratitude for the family “next to her now” and “who can hear her when she laughs or cries.” People come to her for blessings as they see her as a source of positivity. She fears that what happened could happen again, and “we should not forget.” But her final message is “We must love people around us. Love everybody” — a powerful statement from a remarkable person.

Rated PG-13, I Am Here is now playing in local theaters.

A scene from 'Refuge'. Photo courtesy of PJDS

DONATIONS FOR THE PEOPLE OF UKRAINE COLLECTED AT THE SCREENING

The Port Jefferson Documentary Series Spring season continues with a screening of REFUGE, a story about fear and love in the American South, at Theatre Three, 412 Main St., Port Jefferson on March 14 at 7 p.m

Directed by Din Blankenship and Erin Bernhardt, REFUGE is a story about fear and love in the American South. A leader in a white nationalist hate group finds healing from the people he once hated — a Muslim heart doctor and his town of refugees. Chris is a husband and father, a veteran, and until recently, a leader in the KKK. He started hating Muslims when the planes hit the Twin Towers on 9/11, but is forced to confront his hate when he receives a text from Muslim refugee, Heval.

REFUGE illustrates the false promises of hate and reveals where real and lasting refuge is found. Where there is love, there is refuge. The film is set in the most diverse square mile in America, Clarkston, Georgia, and follows a Syrian Kurd, a former Klansman, and a town of refugees who seek belonging in a country that blames them for its problems. Swimming against the current of an increasingly polarized and isolated America, each must decide whether they will risk knowing and being known by those who oppose them. Ultimately, REFUGE uncovers what is possible when we leave the security of our tribes and what is at stake for our country if we don’t.

Running time is 75 minutes.

Guest speakers via live Zoom will be Directors Din Blankenship and Erin Bernhardt, Directors and Chris Buckley and Heval Kelli, subjects in the film. $10 per person at the door or register in advance at www.portjeffdocumentaryseries.com.

Please note: The Port Jefferson Documentary Series board will be collecting donations for the people of Ukraine at each screening. Items collected include:

MEDICINE

Compression Bandages

Tourniquets

Tactical First Aid Kits

Hemostatic Agents (Celox or similar)

Bandages, Gauzes

Antiseptics

Anti- Burn Gels (Neosporin)

Nasopharyngeal Airways (28-30)

Pain Killers (Tylenol, Ibuprofen, Advil)

Wet Wipes

Pampers

Tampons

Women Hygiene Items

OTHER NEEDS

Sleeping Bags

Yoga Mats

Tactical Knee and Elbow Pads

Flashlights

Solar Powerbanks

Tactical Gloves

Tactical backpacks

Thermoses (hot liquid bottles) 1L

MEN’S CLOTHING

Tactical Boots

Winter Hats

Socks

Thermal Underwear

Undergarments

Sweaters

Sweatshirts

FOOD

Dry Soup Packets

Ramen Noodles

Energy Bars and Snack Bars

Tea

Hot Chocolate/ Cocoa (in packs)

Instant Coffee

Baby Formulas

Due to restrictions on items by aid organizations and shippers, they  can ONLY accept items in the above approved donation list. And, all listed clothing items must be new items; not used. The board appreciate that many wish to donate other items and used clothing but they cannot accept such items at this time. Thank you for your understanding.

 

Maureen O'Hara and John Wayne star in The Quiet Man. Photo courtesy of Fathom Events

In honor of its 70th anniversary, The Quiet Man returns to select theaters nationwide on March 13 and 17, courtesy of Turner Classic Movies, Paramount Pictures ad Fathom Events. 

One of the greatest love stories ever told, the acclaimed John Ford classic features John Wayne as retired boxer Sean Thornton who makes a pilgrimage to his home village in Ireland in order to claim his family’s estate. He meets his match in the spirited young Mary Kate Danaher (Maureen O’Hara) only to find himself confronted by her belligerent brother and the town’s strict customs. The film also stars Barry Fitzgerald, Victor McLaglen, Ward Bond and Mildred Natwick.

An Oscar winner for Best Director and Cinematography, this Republic Pictures classic lives on in the hearts of moviegoers and moviemakers alike. Considered by many to be one of Ford’s best films, The Quiet Man was also included on the American Film Institute’s list of 100 greatest love stories of all time.

This special anniversary screening includes exclusive pre- and post-film commentary by Turner Classic Movies  Primetime Host Ben Mankiewicz.

Locally the film will be screened at AMC Stony Brook 17, 2196 Nesconset Highway, Stony Brook on both days at 7 p.m.; at Island 16 Cinema De Lux, 185 Morris Ave., Holtsville on March 13 at 1 p.m. and March 17 at 7 p.m.; and Farmingdale Multiplex Cinemas, 1001 Broadhollow Road, Farmingdale on March 13 at 1 p.m. and March 17 at 7 p.m. To order tickets in advance, visit www.fathomevents.com.

Zoë Kravitz and Robert Pattinson in a scene from the film. Photo courtesy of Warner Bros. Pictures

By Jeffrey Sanzel

Batman first appeared on screen in the 1940s serials Batman and Batman and Robin. His next appearance was in the high camp television series, where Adam West fought a rogues’ gallery of villains played by beloved Hollywood character actors. In 1989, he resurfaced in the Tim Burton Batman, with Michael Keaton in the title role and Jack Nicholson as the Joker. Three sequels of descending quality followed. 

Robert Pattinson as Batman in a scene from the film. Photo courtesy of Warner Bros. Pictures

Director Christopher Nolan rebooted the franchise in 2005 with Batman Begins and Christian Bale donning cape and cowl. The Dark Knight and The Dark Knight Rises followed in 2008 and 2012. Ben Affleck became the most recent Batman, taking on Batman vs. Superman: Dawn of Justice (2016) and Justice League (2017). Throughout the Caped Crusader’s history, he was seen in various animated incarnations, ranging from the tame Saturday morning cartoons to the challenging Batman: The Killing Joke.

After several false starts with Affleck helming as actor, director, and co-author, The Batman has reached the screen with a different vision. Matt Reeves took an alternate approach, co-writing the screenplay with Peter Craig. Leaving behind Affleck’s action-driven script, Reeves explores Batman in a real-world environment. 

If it’s always sunny in Philadelphia, it’s always raining in Gotham. Undoubtedly, this cinematic Batman is the darkest. And while the Dark Knight rises, the sun does not. Gotham is a world of shadows, a city of chaos and utter corruption. A perpetual sense of disease permeates every corner of a world devoid of safety.

The plot centers around Edward Nashton (Paul DanPaul Dano, channeling the Zodiac Killer), a.k.a. The Riddler, who is eliminating people he feels have abused their power. The film opens with the murder of the mayor who was stepping out on his wife with a woman connected to the Iceberg Lounge, run by underworld mob boss Carmine Falcone (John Turturro). 

Falcone’s number two is thug Oswald “Oz” Cobblepot (unrecognizable Colin Farrell), nicknamed “the Penguin.” The missing woman’s roommate is lounge server Selina Kyle (a phenomenal Zoë Kravitz), a burglar and drug dealer, who is—or will become—Catwoman. Throughout the slightly bloated three hours of playing time, skeletons come to light, including an unsavory history of Bruce Wayne’s parents and a connection to an orphanage where Nashton was raised.

Zoë Kravitz and Robert Pattinson
in a scene from the film.
Photo courtesy of Warner Bros. Pictures

For the most part, Batman’s communication style has been a monotone growl. As played by Robert Pattinson, Batman maintains a gravelly, tight-lipped demeanor. But he introduces an underlying neurotic intensity, reflecting that he is only two years into his crime-fighting career. Pattinson’s Bruce Wayne is not the millionaire playboy living in splendor. Instead, he broods in a decaying Gothic manor worthy of Miss Havisham. 

In addition, Bruce is trapped in a codependent relationship with antagonistic butler Alfred (Andy Serkis, given not enough screen time). Alfred reminds him that he is ignoring his responsibilities. This original approach works, giving depth and insight into the struggle of maintaining two separate existences.

While Batman has often been on the perimeters of society, here he is a true outcast. The police—infested with crooked dealings—see him as a freak. His sole ally is Lieutenant James Gordon (Jeffrey Wright, in a first-rate, definitive interpretation), who truly understands his value.

“Fear is a tool,” states this Batman. “They think I’m hiding in the shadows, but I am the shadows.” His motto is straightforward: “I am vengeance.” Part of him believes Gotham is beyond saving—“maybe it’s eating itself.” With monomaniacal drive, he tries to eradicate the criminal element on all levels to exorcise his demons. He has not yet found a more altruistic drive.

The Batman draws on multiple sources from the comic book but eschews the whimsical villainy for true horror. The Riddler is ridding Gotham of those he feels have betrayed the people. He is “unmasking this cesspool of a city,” a distorted reflection of Batman’s mission. Gone are the green tights with a question mark emblem. Instead, he is a sadistic serial killer cut in the Seven vein, often enacting crimes that call to mind Saw’s Jigsaw. While never fully seen, the vicious murders are suggested clearly. He does not have henchman but instead online followers. This is a timely and more frightening proposition, especially in the film’s finale.

Farrell’s Penguin little resembles anything in the Batman canon. Absent are the traditional umbrella, top hat, monocle, and cigarette. Instead, buried under a fat suit and layers of prosthetics, Farrell’s hoodlum is a plotting opportunist. Perhaps closest to expectations is Kravitz’s conflicted and complicated Catwoman, generating heat and danger.

The Batman focuses on the idea that choices have consequences, and responsibility must go beyond vengeance. In the end, Reeves aims for nobility in the final message. Batman embraces survival to transform. He will endure not for payback but to make the world a better place. He acknowledges that there will be people who will take advantage of Gotham’s vulnerability. But, for him, it must be about not dwelling solely in darkness. Whether this is an earned, uplifting coda or just pulling punches from the film’s true grit is left to the individual viewer. Either way, a forthcoming sequel will find a Batman with a higher purpose, continuing those steps into the light.

Rated PG-13, The Batman is now playing in local theaters.

Haley Bennett and Peter Dinklage in a scene from the film. Photo courtesy of Metro-Goldwyn-Mayer/ Peter Mountain © 2021 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved.

By Jeffrey Sanzel

The works of prolific writer Edmond Rostand (1868-1918) included plays for legendary actor Sarah Bernhardt and Les Romanesques (1894), the inspiration for the musical The Fantasticks (1960). But his most enduring work is Cyrano de Bergerac (1897). Rostand based his drama on the life of French novelist, playwright, and duelist Savinien de Cyrano de Bergerac (1619-1655).

Haley Bennett as Roxanne and Kelvin Harrison Jr. as Christian in a scene from the film. Photo courtesy of Metro-Goldwyn-Mayer

In the play, nobleman Cyrano is a cadet in the French Army. Articulate and talented, bold and brash, Cyrano has an exceptionally large nose. His extraordinary proboscis prevents him from expressing his love for his beautiful cousin, Roxanne, fearing his ugliness would cause her to reject him. So instead, he aids the handsome Christian Neuvillette in his courtship of Roxanne.

The first production opened on December 27, 1897, and starred Benoît-Constant Coquelin, who went on to play the role over four hundred times. Subsequent productions were mounted across the globe.

The longest-running Broadway production starred Walter Hampden, in a translation by Brian Hooker; his adaptation became the standard until the 1980s. The best-known Cyrano was José Ferrer, who received a Tony and an Academy Award for his portrayal. Other stars and other translators have since put their enduring impression on the story. Anthony Burgess turned his 1970 adaptation into the libretto for the musical Cyrano (1973), for which Christopher Plummer won a Tony. Steve Martin’s modern screenplay Roxanne (1987) earned him accolades as a writer and actor. 

The story of the selfless soldier with the large nose and eloquent soul has touched audiences on stage and screen for over a century. The newest incarnation, the musical Cyrano, is directed by Joe Wright (Pride & Prejudice, Atonement, Anna Karenina, Darkest Hour, Pan) from a screenplay by Erica Schmidt, based on her 2018 stage adaptation for the off-Broadway production presented by The New Group. 

Haley Bennett stars as Roxanne and Peter Dinklage as Cyrano in Joe Wright’s
CYRANO
A Metro Goldwyn Mayer Pictures film
Photo credit: Peter Mountain
© 2021 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved.

Starring Peter Dinklage, the production features music by Aaron Dessner and Bryce Dessner (of the band The National). Rather than focusing on an exceptionally large nose, it is Dinklage’s diminutive size that sets him apart.

The plot of the Rostand remains, with Cyrano in love with Roxanne, but, afraid of rejection, he pours his heart and words into writing and coaching another man to win her heart: “I will make you eloquent while you make me handsome.” 

But the tone is dark and raw, set in a gritty world. The sense of unrest, of a country at war, permeates the entire film. From the opening scene to the last moments, the unease reflects the restlessness of the story’s protagonist. Instead of the Cyrano beloved of his fellow soldiers and connected in the community, Dinklage is a figure of isolation. 

With the absence of comradery, the loneliness creates a deeper poignancy. He says wryly, “I am living proof that God has a sick sense of humor.” But the depth of his pain is present. His yearning and struggle with unrequited love are heartbreaking, never too far from the surface. “My fate is to love her from afar.” Dinklage’s performance is nuanced, subtle, and honest.

However, taken as a whole, the film is uneven. The dialogue is a mix of occasional rhyming (that seems to disappear), genuinely eloquent free verse, and jarring anachronisms. Many classic speeches are gone, often feeling like Hamlet without “To be or not to be ….” The absence of Rostand’s whimsy and warmth are replaced with a harsher edge that serves some but not all the film. 

Humor is rare. Oddly, one of the first lines, delivered by Roxanne’s duenna Monica Dolan), is one of the lone quips: “Children need love; adults need money.” But these flashes are rare.

Haley Bennett’s Roxanne is not a fluttering ingenue but as self-actualized as a woman of the era could be. She is best when paired with Dinklage, especially in the pastry shop that neatly bookends their final encounter. Wright directed the first scene in sharp cuts emphasizing the dynamic relationship. 

Kelvin Harrison, Jr., makes for a likable, if too aware, Christian. Christian and Cyrano should be a study in contrast, with the former tongue-tied and awkward; he is never allowed to commit to the character’s social clumsiness. Ben Mendelsohn’s De Guiche is predatory, going from storybook villain to full-on monster. Bashir Salahuddin’s Le Bret is marginalized. Le Bret is meant to be Cyrano’s confidante and confessor; here, he is reduced to a few small scenes. 

Haley Bennett in a scene from ‘Cyrano’. Photo courtesy of MGM

But the largest flaw is the unnecessary and intrusive score. Sounding quasi-Broadway pop, it consistently detracts from the flow of both the action and the passion. Musical construction is designed to transition into song when the characters’ emotions become too large for dialogue. In Cyrano, it seems the opposite. The energy rises only to be arrested by generic tunes and painfully prosaic lyrics. 

Vocally, Harrison, Jr., has the strongest voice. Dinklage has a pleasant rumble, reminiscent of Leonard Cohen and Bennett is pleasant if unremarkable. An entire song is given over to the soldiers before battle. For some reason, the composers have opted for a Country-and-Western sound.

The designs are lavish, with a well-deserved costume Oscar nomination (Massimo Cantini Parrini and Jacqueline Durran). Jeff and Rick Kuperman’s choreography is intriguing if puzzling. The film is violent, with brutal sword fighting ending in death. Cyrano even sets fire to one of his attackers.

But ultimately, Cyrano belongs to Dinklage, and he shines. He says of Roxanne: “Even her imperfections are perfect.” The same could be said of Dinklage.

Rated PG-13, Cyrano is now playing in local theaters.

'The Automat' will be screened on April 11.
Rosalind Harris (Tzeitel)

The long-anticipated spring Port Jefferson Documentary Series kicks off Feb. 28 with a screening of Fiddler’s Journey to the Big Screen at Theatre Three, 412 Main Street, Port Jefferson. Narrated by Jeff Goldblum, the film draws on behind-the-scenes footage of the making of Fiddler on the Roof with interviews and never-before-seen stills, capturing how this beloved musical made its triumphant, hazardous journey to the big screen and its unparalleled impact as a cultural force. Guest speaker via live Zoom will be Director Daniel Raim.

Up next on March 7 at Theatre Three is Youth v. Gov, the story of 21 young people, ages 13 to 19, from all over the nation and all walks of life who collectively sue the United States government for violating their constitutional rights by threatening their futures with the effects of climate change. Guest speaker will be Director Christi Cooper via live Zoom.

The season continues with Refuge, a story about fear and love in the American South, at Theatre Three on March 14. A leader in a white nationalist hate group finds healing from the people he once hated — a Muslim heart doctor and his town of refugees. Guest speakers via live Zoom will be directors Din Blankenship and Erin Bernhardt, and Chris Buckley and Heval Kelli, subjects in the film.

After a brief hiatus, The Automat will be screened at Theatre Three on April 11. Chock-full of rich archival footage of old Philadelphia and NYC, this everything-you-wanted-to-know-about-automats film is a lighthearted trip through the history of Horn & Hardart’s iconic and innovative eateries. Guest speaker will be Director Lisa Hurwitz.

a-ha, The Movie heads to Theatre Three on April 18. The music of Queen and the Velvet Underground instilled a sense of destiny in three teenagers living in a small town in 1970s Norway. That dream led to A-ha: the synth-pop trio featuring keyboardist Magne Furuholmen, vocalist Morten Harket, and guitarist Pål Waktaar-Savoy. Featuring new interviews with the band and previously unreleased behind-the-scenes footage. Guest speaker via live Zoom will be Director Thomas Robsahm.

Next up is Zero Gravity to be screened at John F. Kennedy Middle School, 200 Jayne Blvd., Port Jefferson Station on May 2. The documentary follows a diverse group of middle-school students from San Jose, CA, who compete in a nationwide tournament to code satellites aboard the International Space Station. Guest speaker via live Zoom will be Director Thomas Verrette.

Final documentary at Theatre Three on May 23 TBA.

*All screenings will be held at 7 p.m.

All tickets are $10 and are available online or at the event (cash only).  For more information or to purchase tickets, visit www.portjeffdocumentaryseries.com. The series is sponsored by Brightview Senior Living of Port Jefferson Station and Covati & Janhsen CPAS PC of Port Jefferson.

 

A behind the scenes moment in the documentary with director Norman Jewison (right) and Chaim Topol in the role of Tevye on the set of Fiddler on the Roof.

By Melissa Arnold

The long-anticipated spring Port Jefferson Documentary Series kicks off Feb. 28 with Fiddler’s Journey to the Big Screen, a homage to the beloved movie musical.

There is something visceral about Fiddler on the Roof. Whether on stage or on screen, it has a way of gripping your emotions and stirring up memories like few other musicals can.

Based on the story Tevye the Dairyman by Sholem Aleichem, the original Broadway production of Fiddler on the Roof opened in 1964 and became the first musical to run for more than 3,000 performances. The epic, three-hour film adaptation came along in 1971, and quickly earned accolades as the highest-grossing movie of that year.

Rosalind Harris (Tzeitel)

Nearly 50 years later, filmmaker Daniel Raim set out to document all that he could about the film through the eyes of its cast and crew. Along the way, he explored what Jewish culture, faith and family ties mean to him in the present day.  

The finished product, “Fiddler’s Journey to the Big Screen,” is narrated by actor Jeff Goldblum and presented by Zeitgeist Films.

“I brought a lot of curiosity into my exploration of Fiddler on the Roof,” said Raim, who lives in Los Angeles. “It wasn’t just about what makes [director] Norman Jewison’s film so great, but what Norman Jewison’s personal and spiritual journey was like in the process of making it.”

Raim’s grandparents were Holocaust survivors, and his parents met in Israel, where he moved as a teenager. While there, he attended an art-focused high school and, upon graduation, began to make documentaries for the Israeli Defense Force during his required time of military service. He later returned to the United States and attended the American Film Institute.

As for Fiddler on the Roof, Raim recalled watching it for the first time at his grandparents’ house.

“My great-grandparents died in the Holocaust, and when I was watching Fiddler with my grandparents, a portrait of them hung on the wall. My great-grandfather was a kosher butcher and a rabbi, and my grandfather took me to synagogue and taught me about their values,’ he recalled. 

“I was so moved watching it with them — it felt like I was looking at a realistic portrait of Jewish life in Tsarist Russia in 1905, what life might have been like for my great-grandparents’ generation as they wrestled with changing times and anti-Semitism. I had a very specific connection to it and began to ask questions: Who am I? Where do I come from? How did my family live? It made it very meaningful to me.”

Ironically, director Norman Jewison wasn’t Jewish at all. Despite this, he had a deep desire from early childhood to learn more about Jewish culture, especially as he faced harassment because of his last name.

Neva Small (Chava)

It took Raim more than 10 years to complete the film as he traveled the world interviewing the cast and production team. The 88-minute documentary offers an intimate, heartfelt peek inside the memories and creative process of Chaim Topol (Tevye), Rosalind Harris (Tzeitel), Michele Marsh (Hodel) and Neva Small (Chava), among others. The film also includes behind-the-scenes footage and thoughts from production designer Robert F. Boyle, lyricist Sheldon Harnick and renowned composer John Williams.

Raim made a point of showing just how much effort and research went into developing the Fiddler film, so that it could be as authentic as possible. Norman Jewison and John Williams traveled to Israel for a research trip before production began, where Williams pored over Yiddish archives and music. In the documentary, Williams shares what he learned about different types of music that were meaningful in that era and culture, and about the importance of the fiddle in a musical and historical context. 

Similarly, producer Robert Boyle had to research what life was like in a shtetl, or small Jewish community. It was a difficult process, as the shtetls were targeted and destroyed during the Holocaust. Despite this, Boyle was able to faithfully recreate a Jewish painted synagogue based on the very little information he could find.

The attention to detail and commitment to authenticity is only part of what makes Fiddler on the Roof so enduring, Raim said.

“I think the appeal of the stories by Sholem Aleichem, up through the Broadway musical and the film, is that their themes and issues are universal — the breaking down of traditions, the relationships and tensions between family members,” he said. “Everyone can relate to it. You have these beautiful narratives with complex, fun characters, and it can be both joyous and heartbreaking. And then for Jewish audiences, it’s almost like an origin story that they can see themselves and their families in.”

While many in the film industry faced life-altering changes during the pandemic, Raim used his downtime as the final push to complete the documentary.

Michele Marsh (Hodel)

“At the start of the pandemic, I began to collaborate with Michael Sragow, who was the co-writer, co-producer and lead researcher, and producer Sasha Burman. The three of us worked together over Zoom during the lockdown. I thought, now is the time to pull out the juiciest archival footage and interviews I’d ever shot and start working on and shaping them. I really feel like thanks to the pandemic I could really focus on this film, and I was blessed to be able to continue filming original interviews in 2021.”

Production was completed this past December, making the Port Jefferson Documentary Series one of the first showings with an audience. 

The Port Jefferson Documentary Series began in 2006 with a group of friends around a dining room table. The series has since won the title of Best Film Festival on Long Island for six consecutive years.

“When I screen a film, I need to experience an emotional connection before I share it with my board members, and one doesn’t need to be Jewish to appreciate Fiddler on the Roof,” said Barbara Sverd, co-director of the twice-yearly Port Jefferson Documentary Series. 

“Why is it so successful? I think it’s because it’s about average, everyday people trying to make a living, trying to keep old traditions alive, trying to fit into an ever-changing world they may not understand and leaving the Old World behind for an unknown future. But its broader message is about hope, faith and acceptance,” she said.

“We are proud to present Fiddler’s Journey to the Big Screen as a sneak peek before its theatrical premiere and as a welcome back to our Long Island audience. It’s the first in our upcoming Spring Series, and we are thrilled to have director Daniel Raim as our guest speaker by Zoom.”

IF YOU GO:

Fiddler’s Journey to the Big Screen will be shown on Feb. 28 at Theatre Three, 412 Main Street, Port Jefferson at 7 p.m. A conversation with Daniel Raim via Zoom will follow, where audience members can ask questions and share their thoughts. All tickets are $10 and are available online or at the event (cash only). In accordance with Theatre Three’s policy, masks, vaccination cards and a photo ID are required to attend. For more information or to purchase tickets, visit www.portjeffdocumentaryseries.com.