A scene from 'Homecoming: The Story of African American Farmers.' Photo courtesy of CAC
The Cinema Arts Centre in Huntington will present a free special online screening of Homecoming: The Story of African American Farmers on Wednesday, Jan. 26 at 7 p.m.
The final program of its LI AgriCULTURE series, the event will include a discussion with the film’s director, Charlene Gilbert.
In 1920 there were hundreds of thousands of black farmers in America; in 1999 there were fewer than 18,000. Filmmaker Charlene Gilbert travelled to Georgia, the place she calls home, where her cousin still farms the family’s land. Gilbert recounts her family history while she investigates the social and political implications of the decline of black farming, and explores the bittersweet legacy of the land, a symbol of both struggle and survival.
Homecoming paints a picture of the courageous journey of black farmers who started as freed slaves after the Civil War. By 1910, there were 200,000 African American farmers who had bought land, a staggering number considering the poverty and discrimination they faced. However, the Supreme Court’s 1954 decision on Brown v. Board of Education polarized the whole country. Its impact in the South went far beyond the classroom; many farmers who needed credit found they suddenly couldn’t get it, a process known as “red-lining.”
Gilbert unearths footage of U.S. government farm bureaucrats paying lip service to black farmers. A 1964 study of the Department of Agriculture under the Johnson administration found that there had been discrimination against African Americans in every level of the agency. Homecoming explores the spiritual and symbolic meaning of land for black farmers in America.
A link to view the film and an invitation to join the discussion and Q&A will be provided in your email order confirmation after you RSVP at www.cinemaartscentre.org.
Jenna Ortega
in a scene from 'Scream.'
Photo from Paramount Pictures
By Jeffrey Sanzel
The horror and comedy genres have always been an uneasy mixture. Early examples show a clumsy and ultimately juvenile mix, fodder for the preteen matinee crowd. The most obvious examples include the Abbott and Costello/Universal outings where the duo clashed with a rogue’s gallery of baddies from Frankenstein’s monster to Dr. Jekyll and Mr. Hyde.
Jenna Ortega with Ghostface in a scene from ‘Scream.’ Photo by Brownie Harris/Paramount Pictures
Horror films shifted with the aggressively cold Hammer films and then found a reemergence in the late 60s into the 70s. Rosemary’s Baby (1968) ushered in an era of grudging respect for cinematic terror. The genre reached its peak with John Carpenter’s near-perfect Halloween (1978). Any humor found in these works was incidental and subtle. Wes Craven’s A Nightmare on Elm Street (1984) introduced elements of dark comedy. (As the series deteriorated, serial killer Freddy Krueger descended to the level of a quippy late-night TV host, rather than the rooted evil in which he was forged.)
Kevin Williamson’s screenplay for Scream (1996), directed by Craven, successfully blended horror and humor. Scream and its franchise are rooted in a meta-view of the clichés acknowledging the classic tropes. The first Scream movie was clever, brilliantly tense, and genuinely funny; its opening scene (featuring Drew Barrymore) is horrifyingly smart. The characters’ awareness of the rules of the slasher film informed their perceptions.
Three sequels followed with the cleverest element: the introduction of the film-within-a-film, Stab (and its sequels), taking self-awareness to another degree. While not completely deteriorating like most films followed by a number, the quality, insight, and thrills were less.
The newest incarnation, returning to the original title, Scream, continues where Scream 4 ended. Matt Bettinelli-Olpin and Tyler Gillett have taken the directorial reigns (Craven having passed away in 2015), working from a script by James Vanderbilt and Guy Busick. Though attempting to dodge a numerical appellation, this is Scream 5 and a standard slasher:
Group of teenagers in various generic relationships. Check.
Some connection to past storylines. Check.
Cameos of expendable characters from earlier films. Check.
Excessive violence and blood. Check.
People being brutalized but managing to not be in too much pain. Check.
Legacy characters appearing as Deus ex machina. Check.
At one point, the writers have given the “expert” a speech about “requels.” These are the films that are neither sequels nor reboots but some hybrid. Whether this is clever or justifying the new Scream is hard to say.
The story occurs twenty-five years after the Loomis-Macher murder spree in Woodboro. The first scene shares DNA with the opening of the original. While on the phone with the killer, terrified high school student Tara Carpenter (Jenna Ortega) must answer questions about the Stab franchise, or her friend will be murdered. Ghostface is actually in the Carpenter home and stabs Tara seven times (though the girl survives).
Ghostface in a scene from ‘Scream.’ Photo from Paramount Pictures
The attack is a ploy to get Tara’s estranged sister, Sam (Melissa Barrera), to return. Joined by her attentive if slightly uniformed boyfriend, Richie (Jack Quaid), Sam quickly reveals her connection to one of the original killers. She and Richie recruit the dissipated former sheriff Dewey Riley (David Arquette). Ghostface continues his attacks, and the teenagers spout quips, referencing the horror movie rules. Running in the background is the release of a much-maligned Stab 8.
The jump scares are plentiful, predictable, and pedestrian, lacking a sense of danger, either on-screen (or in the audience). Even though there is a sadistic killer in their midst, the town strangely takes it as business-as-usual.
Just before the halfway mark, Sydney Prescott (Never Campbell) and Gale Weathers (Courtney Cox) show up to join the hunt for the killer. The old gang is back together. The most painful, excruciating moment has nothing to do with knives: The reunion of the now divorced Dewy and Gale manages to be both under- and over-written simultaneously.
Throughout, nods to other horror films include the dangerous hospital (Halloween 2) and the shower scene (Psycho). A character named Wes and an Elm Street memorialize Craven. A vague analysis of toxic fandom is important but not fully realized. A lack of texture and a plethora of stiff dialogue keep the film at a distance.
Even with the return of Arquette, Campbell, and Cox, the film fails to ignite. The new cast members do their best, each suspecting the other of being the killer. Even saddled with excessive exposition, Barrera and Ortega make for self-actualized Scream Queens.
There are definite flashes of wit and enormous meta potential. But clichés are sometimes just that: clichés. And, with all the blood, Scream is the hardest to watch when trying to be noble and sincere.
Whether a sequel, a reboot, or a “requel,” Scream is more of a whimper. And just as in the movie’s world where there will be a Stab 9, we can expect a Scream 2. Or 6. Number it as you will.
A CLASSICAL EVENING
The award-winning Emerson Quartet (from left, Paul Watkins, Eugene Drucker, Philip Setzer and Lawrence Dutton) heads to the Staller Center on Jan. 26. Photo from Staller Center
Thursday January 20
Theater Talk
Northport Public Library, 151 Laurel Ave., Northport presents a program titled New Hollywood— American New Wave Cinema of the 1970s at 7 p.m. The 1970s brought some of the most momentous films and filmmakers of all time. Historian Greg Blank will explore directors and their films, including Francis Ford Coppola’s The Godfather, Steven Spielberg’s Jaws, and George Lucas’ Star Wars. To register, call 261-6930.
Friday January 21
Friday Night Face-Off – Update: This event has been canceled.
Join Theatre Three, 412 Main St., Port Jefferson for Friday Night Face-Off, Long Island’s longest running improv comedy show, tonight at 10:30 p.m. on the Second Stage. For ages 16 and up. $15 cash at the door. Call 928-9100 for more information.
Saturday January 22
Maple Sugaring Day
Join the staff at Caumsett State Historic Park Preserve, 25 Lloyd Harbor Road, Huntington for a Maple Sugaring program from 11 a.m. to 1 p.m. This interactive program for adults will teach you how to identify and tap a maple tree so you can make real maple syrup at home. You will also learn the cultural, historical, economical, and scientific background of this uniquely American craft. Very short-walk. $4 per person. Advance reservations required by calling 423-1770.
Sunday January 23
The Golden Age of Broadway
Join Celebrate St. James for a program titled The Golden Age of Broadway with Jack Ader at the St. James Community Cultural Arts Center, 176 Second St., St. James at 1 p.m. Enjoy a video presentation of interviews with some of the stars during the golden age of Broadway along with anecdotes of Ader’s own personal experiences. Donation $20/ $15 seniors. To register, call 984-0201 or visit www.celebratestjames.org.
Monday January 24
No events listed for this day.
Tuesday January 25
Medicine Collection
The Northport Police Department and the Suffolk County Sheriff’s Office will collect unused or expired prescription and over-the-counter medications in pill form only at the Northport Public Library, 151 Laurel Ave, Northport and the East Northport Public Library, 185 Larkfield Road, East Northport from 3:30 to 6:30 p.m. No questions asked. Call 261-6930.
Wednesday January 26
Cinema at the Library
Northport Public Library continues its Cinema at the Library series tonight at 6:30 p.m. Join Cinema Arts Centre co-director Dylan Skolnick for a viewing and discussion of The French Dispatch (rated R). The plot follows three very different storylines as the French outpost of the fictional Evening Sun newspaper creates its final issue. Registration required by calling 261-6930.
Emerson Quartet in concert
Stony Brook University’s Staller Center for the Arts, 100 Nicolls Road, Stony Brook presents the award-winning Emerson String Quartet in concert in the Recital Hall at 7 p.m. The program will include String Quartet #2 by Walton, Quartet #1 by Bartok and Quartet #3 by Shostakovich. Tickets range from $52 to $60. To order, call 632-2787 or visit www.stallercenter.com.
Atelier Art Talk – Update: This event has been moved to February 2
The Atelier at Flowerfield in St. James presents an online lecture titled Noctures: A Brief History Art of the Night Sky from 7 to 8:30 p.m. Join instructor Randall DiGiuseppe in exploring different artists and landmark works from the Paleolithic Age to modern times and how our ever-evolving understanding of the night sky has influenced art. Free. To register, visit www.theatelieratflowerfield.org.
Thursday January 27
Native American Drumming
All Souls Church of Stony Brook hosts a Native American Drumming Meditation program at its Parish House, 10 Mill Pond Road, tonight from 7 to 8:45 p.m. Led by elder drummer Ric Statler, the meditation seeks to integrate the physical, mental, emotional and spiritual parts of the human self, creating a state of well-being. Call 655-7798 for more information.
Film
‘Homecoming: A Story of African American Farmers’
The Cinema Arts Centre will present a free online screening of Homecoming: A Story of African American Farmers via Zoom on Jan. 26 at 7 p.m. On Long Island there were once numerous Black-owned farms stretching from Queens to the East End. During the 19th and early 20th centuries, Black Long Islanders established farms in and around the communities of Sag Harbor, Manhasset, New Cassel, Roslyn Heights, Amityville, Glen Cove, Setauket, Bridgehampton, as well as many others. The screening will be followed by a live discussion and Q&A with director Charlene Gilbert. Free. To register, visit www.cinemaartscentre.org.
Theater
Ken Ludwig’s ‘Baskerville’
A scene from ‘Baskerville.’ Photo by Brian Hoerger
The play is afoot! Theatre Three, 412 Main St., Port Jefferson presents Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery from Jan. 8 to Feb. 5. The play is afoot! Comedic genius Ken Ludwig transforms Arthur Conan Doyle’s classic The Hound of the Baskervilles into a murderously funny adventure. Sherlock Holmes is on the case. The Baskerville heirs have been dispatched one by one and, to find their ingenious killer, Holmes and Watson must brave the desolate moors before a family curse dooms its newest descendant. Watch as the intrepid investigators try to escape a dizzying web of clues, silly accents, disguises, and deceit as five actors deftly portray more than forty characters. Tickets are $35 adults, $28 seniors and students $20 children ages 5 to 12. To order, call 928-9100 or visit www.theatrethree.com.
‘Rock of Ages’
The John W. Engeman Theater, 250 Main St., Northport presents Rock of Ages from Jan. 27 to March 13. The five-time Tony Award®-nominated Broadway musical smash tells the story of a small-town girl, a city boy, and a rock ‘n’ roll romance on the Sunset Strip. But when the bar where rock reigns supreme is set to be demolished, it’s up to these wannabe rockers and their band of friends to save the day — and the music. Rock of Ages’ electric score features all your favorite ’80s rock anthems and power ballads, including “Every Rose has its Thorn,” “I Wanna Know What Love is,” Here I Go Again,” “Don’t Stop Believin’,” and more! Tickets range from $75 to $80 with free valet parking. To order, call 261-2900 or visit www.engemantheater.com.
‘The Marvelous Wonderettes’
Theatre Three, 412 Main St., Port Jefferson presents The Marvelous Wonderettes from Feb. 19 to March 26. This blast-from-the-past musical takes you to the 1958 Springfield High School prom, where we meet Betty Jean, Cindy Lou, Missy, and Suzy, four girls with hopes and dreams as big as their crinoline skirts! Featuring over two dozen classic ’50’s and ’60’s hits including “Lollipop,” “Dream Lover,” “Wedding Bell Blues,” and “Son of a Preacher Man.” Tickets are $35 adults, $28 seniors and students, $20 children ages 5 and older. To order, call 928-9100 or visit www.theatrethree.com.
Celebrate Valentine's Day with a screening of 'Casablanca' at the Cinema Arts Centre.
“Of all the gin joints in all the towns in all the world, she walks into mine.”
In honor of its 80th anniversary, Casablanca returns to select cinemas nationwide on Sunday, Jan. 23 and Wednesday, Jan. 27, courtesy of Fathom Events and Turner Classic Movies and Warner Brothers.
Rick Blaine (Humphrey Bogart) owns a nightclub in Vichy-controlled Casablanca, frequented by refugees desperate to escape German domination. Despite the ever-present human misery, Rick manages to remain uninvolved in World War II now raging across Europe and Northern Africa. But all that changes when his lost love Ilsa Lund (Ingrid Bergman) walks through the front door of Rick’s club. Rick must now choose between a life with the woman he loves and becoming the hero that both she and the world need.
The film won an Oscar for Best Picture, Best Director (Michael Curtiz) and Best Screenplay (Julius J. Epstein, Philip G. Epstein and Howard Koch) and received Academy Award nominations for Best Actor in a Leading Role (Humphrey Bogart); Best Actor in a Supporting Role (Claude Rains); Best Cinematography, Black-and-White; Best Film Editing; and Best Music, Scoring of a Dramatic or Comedy Picture.
This special event includes exclusive insights from Ben Mankiewicz, host of Turner Classic Movies.
Locally the film will be screened at the AMC Stony Brook 17 on Jan. 23 at7:30 p.m. and on Jan. 26 at 7 p.m.; Island 16 Cinema De Lux in Holtsville on Jan. 23 at 4:30 p.m. and on Jan. 26 at 4 p.m. and 7 pm.; and Farmingdale Multiplex on Jan. 23 at 4:30 p.m. and Jan 26 at 4 p.m. and 7 p.m. To order tickets in advance, visit www.fathomevents.com.
Do you know a lot about movies? Then join the Cinema Arts Centre in Huntington for Movie Trivia Night: At Home Edition on Monday, Jan. 3 at 8 p.m. hosted by Daniel French. Tickets are $10, $7 members. To sign up, visit www.cinemaartscentre.org.
How do I play?
It’s simple! When you purchase your ticket, you will provide a valid email address for admission. This email address will receive a Zoom meeting code and password.
What do I need to play?
You will need two electronic devices – preferably a computer/laptop/iPad and a smartphone. We will use the computer to stream the trivia over Zoom and we will use the smart phone to answer the questions (using the program AHASlides). This will be explained in more details when we get going, but for now, please know that you will need two devices to play.
Who can I play with?
Your ticket of $10 ($7 Members) gets your team access to Trivia. Your team will consist of whomever you are physically with right now. We will not be able to combine efforts with people you are not physically with. If you would want to play against the people you are with, that’s allowed as well.
What do I get if I win?
Well, we’re all winners when we play trivia and now you get to support the Cinema Arts Centre that you know and love. But in a more real way, the winning team will get up to four (4) CAC Gift Cards (1 Per Team Member) and bragging rights!
Is this anything like the monthly trivia?
Yes and no. Yes in that it is trivia hosted by Daniel French. No in that it will be structured a bit differently and will not have any other links to the monthly trivia (no sneak peeks, tournament of champions, etc.).
Comsewogue Public Library, 170 Terryville Road, Port Jefferson Station will screen a series of holiday movies from Dec. 27 to Dec. 30 at 2 p.m. Join them for Elf on Dec. 27, National Lampoon’s Christmas Vacation on Dec. 28, It’s a Wonderful Life on Dec. 29 and Miracle on 34th Street on Dec. 30. Open to all. Advance registration is required as seating is limited. To register, visit www.cplib.org or call 928-1212.
In honor of its 40th anniversary, On Golden Pond returns to select theaters nationwide for a special limited engagement on Sunday, Dec. 12 and Wednesday, Dec. 15, courtesy of Fathom Events, Turner Classic Movies and Universal Pictures.
Henry Fonda and Katharine Hepburn in a scene from the film. Photo courtesy of Fathom Events
Cantankerous retiree Norman Thayer (Henry Fonda in his final film) and his conciliatory wife, Ethel (Katharine Hepburn), spend summers at their New England vacation home on the shores of idyllic Golden Pond. This year, their adult daughter, Chelsea (Jane Fonda), visits with her new fiancée (Dabney Coleman) and his teenage son, Billy (Doug McKeon) on their way to Europe. After leaving Billy behind to bond with Norman, Chelsea returns, attempting to repair the long-strained relationship with her aging father before it’s too late.
Directed by Mark Rydell, On Golden Pond (1981) was nominated for 10 Academy Awards, including best picture. Both Hepburn and Henry Fonda won Oscars for their performances, as did playwright/screenwriter Ernest Thompson. Dave Grusin’s beautiful score also received a well-deserved nomination.
The special screening includes exclusive insights from TCM host Ben Mankiewicz. Running time is 2 hours.
Locally, the film will be screened at AMC Stony Brook 17, 2196 Nesconset Highway, Stony Brook on Dec. 12 at 3 p.m. and 7 p.m.; at Island 16 Cinema de Lux, 185 Morris Ave., Holtsville on Dec. 12 at 3 p.m. and Dec. 15 at 7 p.m.; and Farmingdale Multiplex Cinemas, 1001 Broadhollow Road, Farmingdale on Dec. 15 at 7 p.m. To order tickets in advance, visit www.fathomevents.com.
A scene from Disney's 'Encanto'. Photo courtesy of Walt Disney Animation Studios
Reviewed by Jeffrey Sanzel
The question of “What is a gift?” is the driving force of Disney’s60th feature film, Encanto. Set in the mountains of Columbia, in an unspecified “once upon a time,” Encanto is one of Disney’s finest and most sophisticated animated musicals. Exquisitely directed by Byron Howard and Jared Bush (with a screenplay by Bush and Charise Castro Smith), this is a memorable story of family and responsibility.
Fleeing from marauding conquerors, Alma Madrigal loses her husband, Pedro, but saves her infant triplets. An “Encanto” is a charm; here, the spell is in a candle. The magical force of the candle creates the “casita”—a magic home for Alma and her children.
A scene from Disney’s ‘Encanto’. Photo courtesy of Walt Disney Animation Studios
The Encanto blesses each member of the Madrigal family with a special power. Together, these “gifts” help maintain the community. But what happens when that gift brings visions no one wants to know? Or, even more challenging, when a child seemingly has no gift at all? The latter is the case with granddaughter Mirabel, the heart of the narrative and, ultimately, the center and savior of family and village.
Mirabel is a quirky, frustrated young woman; smart and articulate but under-appreciated. Her mother, aunt, sister, and cousins outshine her with their showy skills. Julieta, Mirabel’s mother, heals any ailment with food. Gorgeous Isabela, Mirabel’s oldest sister, is considered perfect and makes flowers bloom. Just behind Isabela is Louisa, a girl of Herculean strength. Aunt Carolina’s emotions control the weather; she is often followed by her own cloud hovering over her head. Cousin Adassa has unparalleled hearing. Cousin Rhenzy is a shapeshifter, taking on the appearance of anyone he meets. Cousin Ravi-Cabot communicates with animals.
While seemingly wonderful, these powers carry burdens as well, shared in often hilarious and telling ways.
The action goes into gear on the day Cousin Ravi-Cabot is to receive his gift. Mirabel, his favorite cousin, gives him the strength to face whatever is to come his way. While everyone is celebrating, Mirabel sees the house beginning to crack and the candle in danger of being snuffed. Her alarm is revealed to be a vision, but most do not—or choose not—to believe her. She embarks on a quest to solve the danger, encountering her Uncle Bruno, who had disappeared after his prognostications were met with resistance.
With the knowledge gathered from Bruno, Mirabel understands her course and the dangers it includes.
Encanto is emotionally complicated and avoids preciousness. There is humor and plenty of magic, but the lessons it imparts are genuine.
A scene from Disney’s ‘Encanto’. Photo courtesy of Walt Disney Animation Studios
Encanto is perhaps the least saccharine of any Disney film. Visually, the film is extraordinary, exploding with color and action. The house itself is a dynamic character, with its communicating tiles, floorboards that deliver slippers, and an alarm clock that nudges the householders to move along.
The characters are charmingly animated, simultaneously broad and subtle. But, in the end, the film’s imparting is the all-important message that gifts do not have to be flashy and that miracles come from belief, perseverance, and love. The film never loses sight of these morals.
The vocal talent is exceptional. Stephanie Beatriz’s Mirabel is tremendous, portraying a struggling soul, imbuing her with perfect comedic timing and profound humanity. John Leguizamo’s Uncle Bruno uses twitchy antics to very slightly mask the character’s underlying sadness. Diane Guerrero’s seemingly vain Isabela finds new shades in her transformation.
In Luisa, Jessica Darrow shows the drain of never complaining. And Maria Cecilia Botero raises the grandmother above caricature, finding depth and pain in the matriarch who comes to terms with her misplaced iron will. (Many of the actors will be voicing the Spanish language version as well.)
Hamilton/In the Heights’ Lin-Manuel Miranda has fashioned a serviceable and pleasant score, but the film stands on its own. An attempt to introduce the roster in “The Family Madrigal” doesn’t quite succeed but establishes the world in which the tale occurs. The strongest numbers are “Dos Orguitas,” a haunting tune sung in Spanish, and the joyous finale “All of You.”
Preceding Encanto is Far From the Tree, a wordless short about a raccoon parent protecting its child with tough love. While simple and traditionally animated, the two pieces share how families relate and the deep-rooted desire to protect. They are perfect compliments, sharing overlapping cores, with Far From the Tree delicate and Encanto spark and sparkle.
In the end, Encanto teaches not just acceptance within a family but how family and community come together. These are big concepts, and younger viewers might not get them the first time. But like the best of family features—The Toy Story series, Coco, etc.—Encanto will be one that children will return to as they grow.
And that said, there is much for everyone to relish in this beautiful and beautifully told tale
Rated PG, Encanto is now playing in local theaters.
Veterans featured in the film arrive on the red carpet before the screening
Smithtown Supervisor Ed Werheim with Veteran Walter Zawol
A Veteran and his family at the screening.
Veteran Anthony Romano with his family
Veterans featured in the film arrive on the red carpet before the screening
Supervisor Ed Wehrheim greets a Veteran before the screening.
Veterans featured in the film arrive on the red carpet before the screening
The Theatre was filled with family members of the 22 Veterans, as well as members of the community.
On Nov. 21 the Town of Smithtown premiered War Stories, a documentary film devoted to the local heroes who served in combat throughout the various conflicts, at the Smithtown Center for Performing Arts. The production documenting the stories of local residents who enlisted to serve in the US Armed Forces during war time; from World War II to present day, will be available via Smithtown GTV and YouTube.
“This documentary is our way of saying ‘Thank You for Your Service.’ We hope that over time, we can build on this documentary, as a catalogue of stories from the story tellers themselves,” said Supervisor Ed Wehrheim. “There’s an old saying that a soldier dies twice: once when he takes his last breath and again when he or she has been forgotten. Well this documentary is our oath to our veterans, our debt of honor, that you will never be forgotten.”
The theatre was filled with family members of the 22 veterans, as well as members of the community, who wanted to show their support and gratitude for the men and women within our community who served to protect our nation’s freedoms. Residents filled two large boxes with non-perishable items for donation, which were delivered to the United Veterans Beacon House Food Pantry.
War Stories Cast (In order of appearance)
Bernard Nagel [ aviation machinist mate ] WWII
Jim “Red” Dowling [ 2nd lieutenant, 8th Army Air Corps ] WWII
Eddy Reddy [ 2nd lieutenant, 8th Army Air Corps ] WWII
Howard Laderwager [ US Navy hospital corpsman ] WWII
Anthony Romano [ US Army PFC ] Korean War | WWII Occupation
John R Steele [ US Navy Seaman ] Korean War
Robert Creighton [ US Navy Aerographer’s mate 3rd class ] Korean War
Nick Balducci [ United States Army 187th Airborne Regimental Combat Team ] [ 82nd Airborne Regimental Combat Team ] Korean War
Salvatore Scarlato [ B Company, 1st Shore Party Battalion, 1st Marine Division – private ] Korean War
William Harnaiz US Army [ Fifth Regimental Combat Team ] Korean War
Frank D’Aversa [ United States Navy Lieutenant ] Vietnam War
Jack Toomey [ United States Army | Specialist 4 ] Vietnam War
Ed Wehrheim [ US Navy Aviation Director 3 ] Vietnam War
Walter Zawol [ United States Marines Corporal ] Vietnam War
Kevin O’Hare [ United States Army 25th Infantry ] Vietnam War
Victor Noce [ US Marine Corps Private First Class ] Vietnam War
Jack Stevens [ US Navy Electronic Technician 2nd Class ] Vietnam War
Bill Ponce [ US Army Full Bird Colonel ] Kosovo, Iraq War
Grace Mehl [ Commander United States Navy ] Kosovo
Joseph Zawol [ United States Marines | Sergeant ] Iraq War | Afghanistan War
Megan Shutka [United States Navy | Lieutenant commander ] Iraq War | Afghanistan War
Eric Ryan [ United States Marines | Sergeant ] Iraq War | Afghanistan War
The Town began production of the veterans documentary, interviewing service members from World War II, through to modern day conflicts in 2019. The film was directed, edited and produced by Smithtown Public Information Officer Nicole Garguilo, and co-produced by Brian Farrell and Margo Gordon. Smithtown Public Safety Park Ranger Charles Kang was instrumental in orchestrating the interview process of Korean War Veterans.
Additionally, Kings Park resident and Gulf War Veteran Eric Burnett assisted with arranging a number of interviews for the documentary. War Stories has been dedicated in memory of two World War II Veterans; Eddy Reddy and Howard Laderwager, who starred in the documentary, but have since passed away.
The Smithtown Performing Arts Council graciously volunteered their time, space and efforts to premiere the documentary. If you would like to make a donation to help Save the Smithtown Theatre, visit www.gofundme.com/f/save-smithtown-theatre.
From left, reporter Tom Cullen, editor Art Cullen and publisher John Cullen of the Storm Lake Times.
Reviewed by Jeffrey Sanzel
“Readers decide our future. Not any branch of government.”
Sixty-five million Americans live in news deserts—counties with only one local newspaper or none at all. In the past fifteen years, one in four newspapers has shuttered in the U.S. Storm Lake, the fascinating documentary by Jerry Risius and Beth Levison, follows The Storm Lake Times, a family-run paper located in Buena Vista County, Iowa. Operating at break-even, The Times, a twice-weekly paper, is one of the last of its kind.
Editor Art Cullen at his desk at the Storm Lake Times
Located in the northwest corner of the state, Storm Lake is home to about 11,000 residents. Originally an almost exclusively Caucasian community, it now contains a large Latino population. Tyson Foods employs over 2,200 workers at its hog slaughterhouse, meatpacking plant, and turkey processing plant.
In ninety well-crafted minutes, Storm Lake offers a portrait of the small-town newspaper industry and a family whose goal is to keep it alive. Founded in 1990 by John Cullen, The Storm Lake Times’ face and voice is Art Cullen, John’s brother. Art, a benign curmudgeon and county’s Democratic voice, presents somewhat like a hippie Mark Twain. At age 59, he received the 2017 Pulitzer Prize for Editorial Writing. He “ask[s] the big questions, speak[s] truth to power, and share[s] the struggles and successes of his unique community.” The paper is a liberal bastion in the predominantly conservative area.
The Times has ten employees, including Art’s son, Tom, who is the main reporter. Founder John explains that he donates his salary because he is on Social Security. Art’s wife, Mary, can be seen taking pictures and writing features. Art’s sister-in-law provides the recipe column. The family dog, Peach, lolls on the office floor or rides along with drop-offs.
Leisure editor Mary Cullen of the Storm Lake Times
The film smartly divides its focus between the big and small pictures. As a result, the day-to-day life of the paper contrasts with larger events. Advertising is the lifeblood of any paper, and The Storm Lake Times grapples with filling its quota. Most of the revenue derives from mom-and-pop stores, but large corporations have driven many out of business.
There are many happy stories: births, local celebrities, “Miss Pigtails,” educational advancements, and county fairs. Local government is given the same weight as national politics. For their readers, garbage pickup is more important than a presidential hopeful’s visit. “Local journalism is the heart of telling the local story.” The report on Ice Out Day, when the ice melts, encompasses a reference to climate change. The Times follows a local Tyson plant worker who is moving forward on a Spanish language talent show.
The paper never shies away from addressing issues of prejudice, extremely important in its growing immigrant community. The story of eight-year-old Julio Barroso, who was deported along with his family, is highlighted; the staff tracked him down in Mexico twenty-two years later. In addition, a partnership is developed with the Spanish paper La Prensa to share content and ads.
The staff listens to its community and responds to their thoughts and criticism. “There are consequences for everything we do, and we feel that feedback immediately,” says John.
Storm Lake Times editor Art Cullen interviews Elizabeth Warren in a scene from the film.
Broader politics included the coverage of The Heartland Presidential Forum, with major Democratic candidates speaking: Art Cullen was the draw. He interviewed Elizabeth Warren, Julio Castro, and Amy Klobuchar, among others. The Iowa Caucus occupies much of the middle and latter half of the film. But even here, there is a discussion about the cutting down of the paper’s TV listings from eighty channels to thirty-one to save space and money. Risius and Levison never lose sight of the myriad challenges.
The end of the film deals with the COVID crisis, and specifically, the Tyson plants. The Storm Lake Times reported on the disproportionate number of immigrants endangered by their work in unsafe conditions. Art states that this is “subtle racism—but racism all the same.” The Tyson operation became the hottest spot in the country for COVID cases.
The denouement shifts briefly to the paper’s labors to survive the pandemic when “ads fell off a cliff,” and Art and John thought of closing the paper. Fortunately, with a go-fund-me and other support, The Storm Lake Times survived. With its new website, it reaches 1.2 million readers per month.
Storm Lake contains the expected filler of printing and binding papers, along with stacks dropped off in stores and machines. Occasionally, there is something meta about the documentarians shooting the television on which Art appears on a talk show. But there are wonderful extended quotes from many of Art’s insightful and passionate editorials. In addition, the documentarians know when to let the film breathe: a talk about feeding the dog, a discussion of a new shirt, or briefly watching Art pick the cashews out of a can of mixed nuts all add to the humanity.
In a world where people want their news for free, Storm Lake is a powerful and important reminder about local journalism’s responsibility, value, and contribution. The film ends on the hopeful note that good journalism elevates a community by reporting on what is good.
“You can change the world through journalism. The reporter is the cornerstone in a functioning democracy. And without strong local journalism, the fabric of the place becomes frayed.”
For a free viewing of the film, visit www.pbs.org/independentlens/documentaries/storm-lake/.
In 1920 there were hundreds of thousands of black farmers in America; in 1999 there were fewer than 18,000. Filmmaker Charlene Gilbert travelled to Georgia, the place she calls home, where her cousin still farms the family’s land. Gilbert recounts her family history while she investigates the social and political implications of the decline of black farming, and explores the bittersweet legacy of the land, a symbol of both struggle and survival.
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