In celebration of its 30th anniversary, ‘The Silence of the Lambs’ returns to select theaters nationwide on Sunday, Oct. 17 and Wednesday, Oct. 20, courtesy of TCM Big Screen Classics and Fathom Events.
With a psychopath named Buffalo Bill is murdering women and believing it takes one to know one, the FBI sends Agent Clarice Starling (Jodie Foster) to interview a demented prisoner: Dr. Hannibal Lecter (Anthony Hopkins), a cannibalistic psychiatrist whose fascination with the young agent is as great as his hunger for murder. As their relationship develops, Starling is forced to confront not only her own demons, but also an evil so powerful she may not have the courage to stop!
Invite an old friend for dinner and to see this event that includes exclusive insights from Turner Classic Movies.
In our neck of the woods, the film will be screened at AMC Stony Brook 17, 2196 Nesconset Highway, Stony Brook on Oct. 17 at 3 and 7 p.m. and at Island Cinema de Lux, 185 Morris Ave., Holtsville on Oct. 17 at 3 p.m. and Oct. 20 at 7 p.m. and Showcase Cinema de Lux (formerly Farmingdale Multiplex), 1001 Broadhollow Road, Farmingdale on Oct. 20 at 7 p.m.
To order tickets in advance, visit www.fathomevents.com.
Michael Gandolfini as a young Tony Soprano and Alessandro Nivola as Dickie Moltisanti in a scene from the film. Photo courtesy of Warner Bros.
By Jeffrey Sanzel
“It’s not T.V. It’s HBO.”
This promotional phrase captured the viewing public’s attention, promoting a shift in the nature and caliber of the small screen. With Oz, Six Feet Under, Curb Your Enthusiasm, The Wire, Sex and the City, and Game of Thrones, the subscription service elevated quality and expectations.
But, perhaps the show that truly launched the revolution was The Sopranos (1999-2007). And no anti-hero captured imaginations more than Tony Soprano, vividly brought to life in an award-winning performance by the late James Gandolfini. For eighty-six episodes, over six seasons, the New Jersey mob boss struggled with personal and professional demons.
The Sopranos transformed the gangster/crime genre into an event that was perpetually brutal, darkly humorous, and almost always surprising. The ensemble cast, headed by Gandolfini and Edie Falco, was nothing short of flawless. Yet, even when it strayed from its strengths, it was still the most watchable and addictive show on television.
A scene from the film. Photo courtesy of Warner Bros.
Sopranos creator David Chase has co-penned the screenplay (with Lawrence Konner) for The Many Saints of Newark, a prequel spanning 1967 to the mid-70s. Focusing on Dickie Moltisanti (father of The Sopranos’ Christopher, played by Michael Imperioli, who narrates from beyond the grave), the story draws on the same well as its source: allegiances and betrayals, violence, and family.
Once again, it is a realm of street shootings, hypocritical funerals, heaping trays of pasta, neglected wives, and abused mistresses. Adding texture and weight to the narrative are the race riots of Newark, as seen through the eyes of Harold McBrayer (Leslie Odom, Jr., making every moment count), an African American associate of the crime family. Though not fully realized, the unrest reflects our contemporary turbulent times.
While Tony’s father, Johnny (Jon Bernthal), is shown going to and returning from prison, the film keeps him surprisingly in the periphery. Dickie’s relationship with his father (a slightly over-the-top Ray Liotta), his father’s immigrant wife (Michela De Rossi, finding depth), and Tony (played by William Ludwig as a boy and James Gandolfini’s son, Michael Gandolfini, as a teenager) are the driving forces.
As Dickie, Alessandro Nivola embodies bravado affected by doubt and guilt. Some of the strongest moments featured his father’s imprisoned twin brother (played with a fascinating edge and subtlety by Liotta). Like The Soprano’s Tony, the shadow of doubt and the battle with moral conflict enrich Nivola’s hoodlum.
The draw in The Many Saints of Newark comes from familiarity with the world Chase created. Saints is, in theory, a standalone film, but the mythology is rooted in what comes next. It is unlikely that people new to The Sopranos will be intrigued enough to explore the original; the film is fan-centric and for devotees.
The most entertaining moments are the ones that reference the characters’ latter selves. John Magaro, as Silvio Dante, finds Steven Van Zandt’s peculiar walk and definitive speech pattern. While given very little to say, Samson Moeakiola’s Big Pussy is a ringer for a young Vincent Pastore. However, with their screen time, these almost feel like cameos or Easter Eggs.
A scene from the film. Photo courtesy of Warner Bros.
Glimpses of Janice, Carmela, Jackie Aprile, and Artie Bucco are more a Where’s Waldo? than resonating additions to the overall landscape. (Corey Stoll as Junior Soprano fails to capture the essence of Dominic Chianese’s eccentric second fiddle.) The result is recognition of familiar lines or reactions rather than engrossment in the complexity of character.
Vera Farmiga is the exception. She consistently evokes Tony’s elder monster-mother Livia (the indelible creation of Nancy Marchand). Farmiga finds the broad strokes as well as the nuance in the mercurial Soprano matriarch. A simple kitchen interaction with the teenage Tony (Gandolfini) embodies the relationship core to the entire series.
The film conjures the era, shot with a brisk pace and an eye for detail by veteran Sopranos director Alan Taylor, and the gritty, period cinematography of Kramer Morgenthau (whose work has included Boardwalk Empire and Game of Thrones).
If anything, the movie offers new life to a departed show that was universally mourned by its faithful followers. It is less a driving narrative and more meditative (though violently so): Chase offers a slice of Mafia life. And while there is an arc, there is no sense of finality.
Without James Gandolfini, a return of the television show seems unlikely. So rather than a reboot, Saints heralds a possible film series exploring what led up to where The Sopranos began. Whether these come to fruition remains to be seen. In the meantime, The Many Saints of Newark compellingly sheds some light on what came before.
Rated R, the film is now playing in local theaters and streaming on HBO Max.
Do you like scary movies? Scream, the iconic 1996 thriller from director Wes Craven, returns to select movie theaters nationwide on Oct. 10 and 11 in celebration of its 25th anniversary, courtesy of Fathom Events and Paramount Pictures.
Drew Barrymore in a scene from ‘Scream’
Featuring an all-star cast, Scream remains a wildly entertaining experience with its sly humor and sharp, suspenseful filmmaking.
After a series of mysterious deaths befalls their small town, an offbeat group of friends led by Sidney Prescott (Neve Campbell) becomes the target of a masked killer. As the body count rises, Sidney and her friends turn to the “rules” of horror films to help navigate the real-life terror they’re living in. The film also stars Courteney Cox, David Arquette, Skeet Ulrich, Matthew Lillard, Jamie Kennedy, Rose McGowan, and Drew Barrymore.
Fans who attend the special event will also be treated to a behind-the-scenes look at the film featuring vintage interviews with the director, screenwriter and actors.
“When it comes to suspenseful horror films of the ‘90s, ‘Scream’ revitalized the genre and created a global franchise,” said Tom Lucas, Fathom Events Vice President of Studio Relations. “Film fans should get ready and buckle up for a fiendishly clever ride this Halloween season at their local theater!”
Catch a screening at AMC Stony Brook 17, 2196 Nesconset Highway, Stony Brook on Oct. 10 at 3 p.m. and 7 p.m. and on Oct. 11 at 7 p.m. To order tickets in advance, visit www.fathomevents.com.
A scene from 'Dear Evan Hansen'. Photo courtesy of Universal Pictures
Film adaptation celebrates the essence of an unforgettable musical
By Jeffrey Sanzel
Lillian Hellman’s The Children’s Hour was touted as a play exploring “the power of a lie.” The same could be said of Dear Evan Hansen, the Broadway musical that opened in 2016 and had played over 1,300 performances before the shutdown. It returns to its home at the Music Box on December 11.
Evan Hansen is a high school senior with social anxiety. His therapist has assigned him to write self-encouraging letters (thus the title). The school outcast, Connor Murphy, steals one. When Connor commits suicide, the letter is found in his pocket. The boy’s family finds solace in the idea that he had a close friend in Evan. Instead of explaining the mistake, out of a mix of sympathy, sensitivity, and fear, Evan goes along with the misunderstanding. However, the situation becomes a bigger issue when Connor’s memory becomes a cause. And while his intentions are initially good, the lie ultimately becomes destructive.
Ben Platt and Julianne Moore in a scene from ‘Dear Evan Hansen’. Photo courtesy of Universal Pictures
Benj Pasek, who wrote the score with Justin Paul, based the idea on an incident that occurred in his Philadelphia high school. Collaborating with book writer Steven Levenson, they created a smash hit that received critical accolades and garnered dozens of awards. Its six Tony’s included Best Musical, Best Book of a Musical, Best Original Score, and Best Actor in a Musical for Ben Platt’s star turn as the titular character.
Platt is the sole member of the stage company to recreate a role in the screen version. Much has been said (predominantly online) about Platt being too old to play Evan, but this is unfounded carping. His portrayal of the tormented teen is nothing short of devastating. He has skillfully adapted his stage persona for the screen, finding depth and subtlety, with his voice soaring from first to last. Platt’s Hansen is a gift, and a reminder of the countless stage performances lost to Hollywood productions featuring bigger names of far lesser skill.
Levenson has fashioned a smart and effective screenplay, opening it up just enough but maintaining the stage version’s intimacy and integrity. Steven Chbosky’s direction ably captures Evan’s isolation, especially in the opening “Waving Through a Window,” but there is a sense of repetition in the endless panning shots. In addition, Chbosky and Levenson rely a bit too heavily on quickly inserted fantasy shots that don’t quite land. But, overall, they have transformed the musical into a satisfying cinematic experience, and the expanded ending is richer and more fulfilling than the original.
The driving force in the musical was the score, a unique and melodious contemporary Broadway sound. Four songs have been cut for the film, so Platt now carries about eighty percent of the music. The elimination of “Does Anybody Have a Map?” clearly emphasizes Evan’s journey, which somehow marginalizes the families (or at least the adult singers). And while there is logic to the change, the choice is a loss of a perfect song and establishing the story’s larger world.
Ben Platt and Amandla Stenberg in a scene from ‘Dear Evan Hansen’. Photo courtesy of Universal Pictures
One of the early highlights is the cleverly realized “Sincerely Me.” Evan recruits a family friend, Jared (the hilariously deadpan Nik Dodani), to create fake backdated emails to show Evan’s friendship with Connor (Colton Ryan, who shows great range and dimension). Platt makes every song work, but none as indelibly as his confession to Connor’s family in the devastating “Word’s Fail.”
Amy Adams and Danny Pino are honest and raw as Connor’s parents. Kaitlyn Dever is both believable and heartbreaking as Connor’s sister, Zoe, the object of Evan’s affections. The family’s “Requiem” trio shows their distance and struggle. Dever and Platt’s duet “Only Us” genuinely captures their unlikely burgeoning romance. Julianne Moore is fully present as Evan’s mostly absent mother. But her vocal skills are limited, and while there is an adjustment in her one number (“So Big/So Small”), the tentative vocal quality doesn’t fully suit the strength of the character.
The creators have expanded and softened the role of Alana Beck (Amandla Stenberg), the overachiever who heads up the Connor Project. In the play, there is a mercenary quality to Alana. Here, she is given a revelation of her issues with anxiety and depression, somehow diluting Evan’s isolation. Stenberg stunningly presents a new number—“The Anonymous Ones”—but there is something generic about both its sound and sentiment.
There is a general underplaying of the social media aspect that was hyper-present in the stage production. Film is an opportunity to explore cyberspace in a big (or even bigger) way. Instead, the creators opted for two brilliant, pivotal moments: the beautifully realized anthem “You Will Be Found” and later the online posting of the “Dear Evan Hansen” letter. However, there is a strange—and inaccurate—absence of cell phone use among the students.
But in the end, all are minor cavils. Dear Evan Hansen is a powerful, emotional, and, ultimately, important adaptation, celebrating the essence of a unique and unforgettable musical.
Rated PG-13, ‘Dear Evan Hansen’ is now playing in local theaters.
Image from ‘Seasons of Change on Henry’s Farm’. Photo credit: Ines Sommer
Throughout this summer, Huntington’s Cinema Arts Centre has been offering free pop-up film screenings around Long Island in order to bring attention to local agriculture. Presented in partnership with Suffolk County Department of Economic Development & Planning, the local economic development initiative, Choose LI, the Cinema’s new ‘LI AgriCULTURE’ series has offered a unique look at farming on Long Island.
This October, the Cinema Arts Centre is partnering with Fink’s Country Farm, a family-owned and operated farm in Wading River, for a free day of fun and a screening of the independent documentary film, ‘Seasons of Change on Henry’s Farm.’
Image from ‘Seasons of Change on Henry’s Farm’. Photo credit: Ines Sommer
The LI AgriCULTURE series engages the local community in Long Island’s rich landscape of sustainable food production through the power of documentary film, helping to foster pride in our shared agricultural and aquacultural heritage, and inspiring Long Islanders to choose more local foods. Presenting dynamic documentary screening and discussion programs, virtually and in a variety of locations, this program will connect audiences to local food producers and encourage and empower the community to include more locally and sustainably produced foods in their daily diets. Learn more at: https://cinemaartscentre.org/li_agriculture/
The October event of the LI AgriCULTURE series will take place on Friday, October 1st at Fink’s Country Farm in Wading River. The program will be presented in partnership with Fink’s Farm,and planned with guidance from the Suffolk County Department of Economic Development & Planning, Choose LI, and Peconic Land Trust. The free program will feature a day of fun including a petting zoo, hay rides, a corn maze, pumpkin picking, food and refreshments, a discussion with a panel of experts, and a screening of the independent farming documentary, Seasons of Change on Henry’s Farm.
Seasons of Change on Henry’s Farm: Surrounded by GMO-heavy industrial farms in Central Illinois, for a quarter-century Henry Brockman has successfully operated a small family vegetable farm based on principles of organic cultivation and biodiversity. But farming takes a toll on his aging body and Henry dreams of scaling back. While his former apprentices run the farm, Henry spends a “fallow year” with his wife Hiroko in Japan. But things don’t turn out as planned, and Henry must grapple with the future of farming in a changing climate on personal, generational, and global levels.
“The Cinema Arts Centre has always used the power of film to educate, inspire, and mobilize the Long Island community,” says David M. Okorn, executive director of the Long Island Community Foundation. “We are proud to support this film initiative that will connect residents to Long Island farms and fisheries and help them understand the importance of locally-grown food.”
Event Information:
Date: Friday, October 1st 4:00 – 9:00 PM (A rain date is scheduled for October 7th)
Location: Fink’s Farm, 6242 Middle Country Road, Wading River, New York 11792
The Suffolk County Vanderbilt Museum is pleased to host an outdoor showing of Back to the Futureon Saturday, September 18. Gate opens at 6:00 pm and the movie starts at sunset. Guests are encouraged to bring their own chairs, blankets, beverages, and snacks.
“What better way to spend time with family and friends than by enjoying a movie under the stars at one of our County parks,” said Suffolk County Executive Steve Bellone. “The County’s Community Movie Night Series will showcase iconic films that residents of all ages will enjoy.”
Suffolk County is offering free, family-friendly Community Movie Nights in various county parks through September 25. Admission is free, and seating is available on a first-come basis.
Other movies:
Matilda — Friday, September 17 at Lake Ronkonkoma County Park
The Wizard of Oz – Friday, September 24 at Gardiner County Park
The Addams Family – Saturday, September 25 at Lake Ronkonkoma County Park
Suffolk County has partnered with the Reclaim Our Water initiative, New York State Department of Environmental Conservation, the Long Island Nitrogen Action Plan, Plaza Cinema and Media Arts Center, and the Vanderbilt Museum and Reichert Planetarium for the community movie series.
For more information and to secure tickets, visit:
'Mission Joy — Finding Happiness in Troubled Times'
'In Balanchine's Classroom'
'Dear Mr. Brody'
'Claydream'
By Tara Mae
A Holocaust survivor’s complicated connection to the SS officer who nursed her through typhoid. An heir to a margarine fortune determined to give away his $25 million inheritance. A whistleblower whose patriotism leads to prison. These are just some of the stories explored when the award-winning Port Jefferson Documentary Series (PJDS) kicks off its Fall 2021 season on Sept. 20.
Since 2005, the film series has been providing audiences access to films, artists, and stories that may otherwise not be as available to the general public.
‘In Balanchine’s Classroom’ will be screened at Theatre Three on Oct. 25.
Sponsored by the Greater Port Jefferson-Northern Brookhaven Arts Council, the Suffolk County Office of Film and Cultural Affairs, Maia Salon Spa and Wellness, and Covati and Janhsen, CPAs, the PJDS will present seven intriguing documentaries at Theatre Three, located at 412 Main Street in Port Jefferson.
The documentaries were handpicked by a six-member film board that includes co-directors Lyn Boland, Barbara Sverd and Wendy Feinberg along with Honey Katz, Lorie Rothstein and Lynn Rein. Although the final selections are made by the board, the screening committee also includes four longtime volunteers Denise Livrieri, Yvonne Lieffrig, Debbie Bolvadin, and Mitch Riggio.
“We run the documentary series as a real democracy. Every film has a showrunner; you pick a film that you are particularly excited about, and everyone votes it in,” explained Lyn Boland.
The films include Love It Was Not, Claydream, Dear Mr. Brody, United States vs. Reality Winner, Not Going Quietly, In Balanchine’s Classroom, and Mission Joy — Finding Happiness in Troubled Times. Screenings will take place 7 p.m. on Mondays, September 20 and 27; October 4, 11, 18, 25; and November 15. (See sidebar).
With the exception of Claydream, the films will be also offered virtually the following day. In addition, an eighth film, Torn, will be only offered virtually on Nov. 8.
Each screening will be followed by a Q&A with the documentary’s director or producer, who will join the event via personal appearance, Skype call, or, in one case, a pre-recorded Zoom interview. Tom Needham, host of The Sounds of Film on WUSB, will act as emcee.
“Tom is the consummate interviewer. We are so lucky to have him. He chooses his own very interesting questions which really gets to the heart of each film and the filmmaker’s reasons for making the film,” said Wendy Feinberg.
‘Love It Was Not’ will be screened at Theatre Three on Sept. 20.
Boland believes that this series may be the most diverse series yet. “This season is the most varied season I can remember us presenting. It covers a huge range of topics,” she said. Love It Was Not, a film by Maya Sarfaty, was Boland’s recommendation to the panel.
“It’s a Holocaust story about a prisoner who had an SS officer fall in love with her; a remarkable story,” Boland said. “He secretly nurses her through typhoid, decades later his wife calls her to testify at his Nuremberg trial. Of course this is a dilemma for her…”
Boland is excited to see all the films, especially Dear Mr. Brody, directed by Marc Evans and United States vs. Reality Winner directed by Sonia Kennebeck.
“Dear Mr. Brody is such a nostalgia piece from the 70’s, a period I loved, and it was a story I had never heard. I thought it was very unique and it was sparked by finding the trove of letters sent to him from that period.”
United States vs. Reality Winner stood out to the co-director for how it explores the difficult decisions individuals in fraught situations may be forced to make. “It is important that the missed stories be told, the stories that really define their times,” she said. “I thought what Reality did was so brave, so right and what she went through for it shows how twisted up motivation and rules can be.”
‘Dear Mr. Brody’ will be screened at Theatre Three on Oct. 4.
It’s that sort of authenticity that Boland believes makes documentaries so arresting and engaging. “I think what makes documentaries special is the extra dimension of knowing that they are true…there is no forgetting about the camera, like you do in a feature film. You are really aware that someone had to be there, in that situation, with a camera, and even if it is not dangerous or daring, it is still access, and with access you can make the film. Documentarians don’t always know how a story is going to unfold, but finding the story arc, that makes it a really riveting documentary,” she said.
Everyone associated with the series is first and foremost a fan of the genre, according to Boland. And while many of the works are discovered by board members at festivals such as the Tribeca Film Festival, they are also being contacted by film distributors.
“Distributors are reaching out to us more often. We’re not a festival, so we don’t solicit entries the way festivals do. We really feel that we are picking from an already selective group of films when we see them at a film festival. We used to absolutely require that a film had to have won an award or gotten rave critical review; we now trust our own judgement more,” she said.
A labor of love for all those involved, holding the live screenings and Q&As at Theatre Three is an ongoing partnership.
“We’re providing an opportunity for an arts organization in our community. It is very valuable to screen films that people wouldn’t necessarily get to see in movie theaters; many of them noncommercial. The series offers a truly wonderful service,” said Theatre Three’s Artistic Director Jeffrey Sanzel.
Film Schedule:
■The season begins with a screening of Love It Was Not on Sept. 20. Flamboyant and full of life, Jewish prisoner Helena Citron found herself the subject of an unlikely affection at Auschwitz: Franz Wunsch, a high-ranking SS officer who fell in love with her magnetic singing voice. Their forbidden relationship lasted until her miraculous liberation. Thirty years later, a letter arrived from Wunsch’s wife begging Helena to testify on Wunsch’s behalf in an Austrian court. She was faced with an impossible decision: should she help the man who brutalized so many lives, but saved hers, along with some of the people closest to her? Follow her journey in Love It Was Not. Guest speaker, recorded via Zoom, is Director Maya Sarfaty. This film is sponsored by Temple Isaiah and North Shore Jewish Center.
■ Up next on Sept. 27 is Claydream which follows the story of Will Vinton, a modern day Walt Disney who picked up a ball of clay and saw a world of potential. Known as the “ Father of Claymation,” leading a team of artists and writers, Vinton revolutionized the animation business during the 80’s and 90’s. But after thirty years of being the unheralded king of clay, Will Vinton’s carefully sculpted American dream came tumbling down. The film takes us on an exciting journey, rich with nostalgia and anchored by a trove of clips from Vinton’s life work, including his iconic, classic California Raisins. Guest Speaker is Director Marq Evans via Skype. *Please note, this film is not available virtually.
■ Next up on Oct. 4 is Dear Mr. Brody. In 1970, hippie-millionaire Michael Brody Jr., the 21-year-old heir to a margarine fortune, announced to the world that he would personally usher in a new era of peace and love by giving away his twenty-five million dollar inheritance to anyone in need. Instant celebrities, Brody and his young wife Renee were mobbed by the public, scrutinized by the press, and overwhelmed by the crush of personal letters responding to this extraordinary offer. Fifty years later, an enormous cache of these letters are discovered – unopened.
In this riveting follow-up to his acclaimed film, TOWER, presented by the PJDS in 2016, award-winning director Keith Maitland reveals the incredible story of the countless struggling Americans who sought Brody’s help. Guest Speaker is Melissa Robyn Glassman, Producer and subject in the film.
■United States vs. Reality Winner will be screened on Oct. 11. A state of secrets and a ruthless hunt for whistleblowers, the documentary tells the story of 25-year-old NSA contractor Reality Winner who leaked a top secret document to the media about Russian interference in the 2016 United States elections. Guest speaker will be Director Sonia Kennebeck.
■ The season continues with Not Going Quietly on Oct. 18. When 32-year-old activist and father Ady Barkan is diagnosed with ALS and given four years to live, he finds himself in a deep depression, struggling to connect with his young son, whose presence reminds him of the future he will miss. But, after a chance confrontation on an airplane with Senator Jeff Flake goes viral, Ady decides to embark on a tour of America, using his final breaths to fight for healthcare justice, and ultimately discovering that collective action and speaking truth to power can not only inspire movements, they can offer personal and emotional transformation as well. Guest speaker will be Director Nicholas Bruckman.
■ Up next on Oct. 25 is In Balanchine’s Classroom which takes us back to the glory years of Balanchine’s New York City Ballet through the remembrances of his former dancers and their quest to fulfill the vision of a genius. Opening the door to his studio, Balanchine’s private laboratory, they reveal new facets of the groundbreaking choreographer: taskmaster, mad scientist, and spiritual teacher. Today, as his former dancers teach a new generation, questions arise: what was the secret of his teaching? Can it be replicated? This film will thrill anyone interested in the intensity of the master-disciple relationship and all who love dance, music, and the creative process. Guest speaker is Director Connie Hochman.
■ Directed by Max Lowe,Torn will be screened virtually only on Nov. 8. On Oct. 5, 1999, legendary climber Alex Lowe was tragically lost alongside cameraman and fellow climber David Bridges in a deadly avalanche on the slopes of the Tibetan mountain, Shishapangma. Miraculously surviving the avalanche was Alex’s best friend and climbing partner, renowned mountaineer Conrad Anker. After the tragedy, Anker and Alex’s widow, Jennifer, fell in love and married, and Anker stepped in to help raise Alex’s three sons. The film will follow Max Lowe in his quest to understand his iconic late father as he explores family’s complex relationships in the wake of his father’s death.
■ Mission Joy — Finding Happiness in Troubled Times, a profound and jubilant exploration of the remarkable friendship between Archbishop Desmond Tutu and His Holiness the Dalai Lama, closes out the PJDS Fall season on Nov. 15. Inspired by the international bestseller, The Book of Joy, the documentary welcomes viewers into intimate conversations between two men whose resistance against adversity has marked our modern history. Co-Directed by Louis Psihoyos and Peggy Callahan, the documentary reflects upon their personal hardships as well as the burden both men carry as world leaders dedicated to bringing justice to and fighting authoritarianism in their communities. Guest speaker is Co-Director Peggy Callahan via Skype.
The Fall 2021 Port Jefferson Documentary Series will be presented at 7 p.m. on select Monday nights from Sept. 20 to Nov. 15 at Theatre Three, 412 Main St., Port Jefferson and virtually the following day.
Please note COVID-19 protocols will be fully enforced at Theatre Three. All ticket holders must show proof of vaccination status at the door, where it will be checked by two physician volunteers. Minor children too young to be vaccinated must be accompanied by a vaccinated adult, and all audience members must wear masks.
Live screenings are capped at 100 people while virtual screenings are capped at 50 people. Tickets are $10 per person online or at the door. A film pass to see all the documentaries is $56. To purchase tickets, please visit www.portjeffdocumentaryseries.com. For more information, call 631-473-5220.
Camila Cabello and Billy Porter in a scene from 'Cinderella'
Photo: Kerry Brown/Amazon Prime
A scene from 'Cinderella'. Photo from Amazon Prime
Camilla Cabello stars in 'Cinderella'. Photo from Amazon Prime
By Jeffrey Sanzel
Cinderella has long been a cinematic staple, with various versions on the large and small screens. The story traces its roots to both Charles Perrault (1697) and the Brothers Grimm (1812), though the former gave us the glass slipper.
America’s sweetheart, Mary Pickford, appeared in the earliest known adaptation, the 1914 silent film. None is more beloved than the 1950 Disney cartoon, loosely remade as a live-action version in 2015, with a luminous Lily James. The Rodgers and Hammerstein musical has gone through three television incarnations, with Cinderella portrayed by Julie Andrews (1957), Lesley Ann Warren (1965), and Brandy (1997). Add to these the many appearances of the character in modernizations, sequels, spoofs, and revisionist fair.
In addition, Cinderella has appeared in operas, ballets, and stage productions, including the 2013 Broadway production and Andrew Lloyd Webber’s current West End vision, replete with a Goth heroine.
Kay Cannon, best known for the Pitch Perfect series, has written and directed the latest incarnation. The musical follows the basic plot: With the aid of a fairy godmother, an orphaned waif (put-upon by her stepmother and stepsisters) catches the eye of a prince and lives happily ever after.
Utilizing pop hits, Cannon has created a peripatetic world in Candy Land colors and clashing patterns. The opening number, a mashup of Janet Jackson’s “Rhythm Nation” and Desirée Weekes’ “You Gotta Be,” plays like Beauty and the Beast’s “Belle” on speed. It is explosive and joyfully aggressive, setting the tone, more The Greatest Showman and less Disney. (Both pieces share the athletic and often delightful work of choreographer Ashley Warren.) Other numbers include “Somebody to Love,” “Material Girl,” and “Perfect,” all fairly well integrated.
Where this Cinderella departs is in its feminist viewpoint. Cinderella’s greatest desire is to design dresses for her own shop. Forbidden to pursue her dream by her stepmother, she also faces the town’s prohibition on women owning businesses. Cinderella’s quest is not for a man; it is for independence and a sense of self. Much of this is presented on the nose and succeeds because of a charismatic star.
Singer Camila Cabello holds center as a strong, funny, and intelligent Cinderella in her acting debut. She also composed the movie’s (oft-repeated) “Million to One,” a predictable if tuneful number. Nicholas Galitzine’s Prince Robert has almost as much screentime. In line to be king, Galitzine alternates between traditional Crown Prince and frat boy. He is “charming,” if a bit bland, due to his ambivalence to his eventual succession. Unfortunately, his passivity makes him less engaging and no match for Cabello’s feisty, forward-looking Cinderella.
The rest of the all-star cast mostly triumphs over uneven material. The marvelous Idina Menzel, who has the film’s strongest voice, struggles with finding Cinderella’s stepmother Vivian’s center. She ranges from comic villainy to severely cruel, with peaking glimpses of humanity. Instead of creating dimension, the character feels unfinished. Maddie Ballio and Charlotte Spencer are hilarious and a pure delight as stepsisters Malvolia and Narissa. They deserved more screen time and a number to themselves as they become sidelined.
The royal family features Pierce Brosnan as a king who is more bluff than gruff, Minnie Driver as his better half, and Tallulah Greive as the mildly scheming princess who aspires to rule. There is so much going on and yet very little result. Like with the stepsisters, Greive warranted a bigger presence. All three performances are good if incomplete.
Billy Porter is the Fabulous Godmother, and Fabulous he is. Porter should appear in every new movie, if not by his choice, then by Act of Congress. He brings hilarity, sensitivity, and depth to his five minutes of screen time.
The ensemble is composed of wonderful dancers who land the handful of lines peppered throughout the larger scenes. Cannon has corralled the company nicely — though she failed to mine a very funny piece of business with a royal choir.
Ultimately, the entire movie is entertaining if unfulfilled potential, with the scales tipping back and forth. Five-note range generic pop songs follow clever lines. Spectacular dance numbers spell stretches of declarative dialogue telling us the ideas of equality rather than showing them. Cannon struggles to find a consistent writing style. Some moments swipe at a period quality. Other scenes aim for a tough, clear reality (a particularly awkward exchange between the monarchs that borders on embarrassing). But mostly, the dialogue is contemporary “sass,” which is what serves its cast best. It aims for “poppin’” (as one character states) but often tries a bit too hard.
While this Cinderella will never achieve status as even a semi-classic, it reflects its time. And, with a message of self-actualization, the solid cast is up to the telling. Like its prince, this Cinderella might not be Mr. Right — but it’s Mr. Right Now.
Rated PG, Cinderella is playing in select theaters and on Amazon Prime.
Celebrate Jim Henson’s birthday with a journey into his magical Labyrinth when the 1986 fantasy-adventure returns to select cinemas nationwide on Sept. 12, 13 and 15 in celebration of its 35th anniversary, courtesy of Fathom Eventsand Sony Pictures.
Labyrinth tells the story of fifteen-year-old girl, Sarah (Jennifer Connelly), who, frustrated with babysitting on yet another weekend nigh, secretly wishes that her baby brother, Toby, wouldbe taken away by Goblins. When little Toby actually disappears, Sarah must follow him into a fantastical world to rescue him from the Goblin King (David Bowie). Guarding his castle is the labyrinth itself, a twisted maze of deception, populated with outrageous characters and unknown dangers. To get through it in time to save Toby, Sarah befriends the Goblins, in hopes that their loyalty isn’t just another illusion in a place where nothing is as it seems! Rated PG.
The movie will be preceded by a brief featurette entitled “The Henson Legacy” where Jennifer Connelly and the Henson family talk about the art of puppetry and the magic of Jim Henson, along with a visit to the “Center for Puppetry Arts” featuring The Jim Henson Collection and over 100 puppets from Labyrinth!
Screenings will be held at AMC Stony Brook 17 on Sept. 12 at 3 p.m. and 7 p.m., Sept. 13 and 15 at 7 p.m.; and at Island Cinema de Lux in Holtsville on Sept, 12 at 3 and 7 p.m. and Sept. 15 at 7 p.m. To order tickets in advance, visit www.fathomevents.com.
Jennifer Hudson pays homage to the Queen of Soul in 'Respect'. Photo from MGM
Reviewed by Jeffrey Sanzel
Aretha Louise Franklin began her career as a child singing in her father’s Baptist Church. She would go on to be one of the most important and influential vocalists of all time. Beloved as a musician as well as civil rights activist, “the Queen of Soul” would touch millions.
Tony-Award nominated Liesl Tommy makes her featured film debut with Respect, a biopic of Franklin’s early life and rise to fame. Beginning in her Detroit home in 1952 and traveling forward twenty years, Tracey Scott Wilson’s screenplay is a mostly straightforward look at one of the most iconic figures of the music industry.
The film begins with ten-year-old Aretha (a marvelous Skye Dakota Turner) being woken by her father, Baptist minister C.L. Franklin (Forest Whitaker), to entertain his guests. The opening sequences show his pride in her vocal prowess and his manipulative nature, themes that will carry through their entire relationship. During one party, a friend of her father’s rapes the preadolescent Franklin. The film is a bit hazy about the rape and the birth of her first two children, sidestepping a murky part of Franklin’s past. (There have been multiple articles written about both the liberties and inaccuracies of Respect.)
Jennifer Hudson and Marlon Wayans in a scene from ‘Respect’. Photo courtesy of MGM
The story continues with her breaking from her father’s supervision and connecting with Ted White (Marlon Wayans), who becomes her manager and husband. Unfortunately, White is abusive, with Franklin trading one controlling man for another. Along the way, she signs with Atlantic Records producer Jerry Wexler (Marc Maron), who becomes an impetus in her career shift.
One senses a list of items that the creators wanted to cover and checked them off as they went, manifesting in a mechanical progression. In addition, the dialogue often states the characters’ thoughts and feelings rather than revealing them in action. As a result, the subtext—the underlying humanity—is often lost as the plot moves forward.
Tommy and Wilson have managed to make recording fascinating and engaging. The breakthrough recording in Muscle Shoals, Alabama, runs the gamut from tense to exhilarating. Throughout, the scenes focusing on Franklin’s art and craft shine. Recreation of interviews is cleverly juxtaposed with the “reality” of the moment. But more could have—and should have—been made of her civil rights work.
Jennifer Hudson and Forest Whitaker in a scene from Respect. Photo by Quantrell D. Colbert/MGM
Whitaker makes the most of Franklin’s father, but because Wilson has avoided many of the more unsavory aspects of C.L. Franklin (alluded to but unconfirmed), the character never feels fully realized. Marlon Wayans fairs a bit better, finding the edge and danger in White.
Marc Maron is a joy as Wexler, both caring and quirky. Kimberly Scott shines as the family matriarch. Audra McDonald makes the best of what is little more than a cameo as Franklin’s mother. Tituss Burgess embodies kindness as James Cleveland, a man who arcs through her entire life. Mary J. Blige brings the right blend of imperious ego and genuine no-nonsense to Dinah Washington (though her major scene is an incident most likely connected to Etta James).
At the center of the film is Jennifer Hudson, delivering a knockout performance. Hudson first encountered Franklin when she sang “Share Your Love With Me” in her American Idol audition. Then, following Hudson’s Academy Award win for Dreamgirls, Hudson visited Franklin in New York. According to Hudson, “… one of the first things she said to me was, ‘You’re gonna win another Oscar for playing me, right?’”.
Hudson brings warmth and intelligence to her Franklin, navigating the entire range of innocence and hope to the constant struggle with her inner demons. She allows the pain to swell and recede, some moments turning in and others lashing out. Her growth to stardom and the price that she paid remain in precarious balance. Hudson owns every song, honoring Franklin but bringing her own power to the interpretations. She celebrates the entire range of Franklin’s work, from the church music to early jazz standards to finally those that became her signature songs. Whether taking on the traditional “Ac-Cent-Tchu-Ate the Positive,” finding the depths in “I Never Loved a Man (The Way I Love You),” soaring with “Amazing Grace,” or exploding with “Respect,” Hudson delivers in the dozen-plus songs.
There is an odd misstep in the closing of the film. Franklin’s Kennedy Center Honors performance of “Natural Woman” is shown in its entirety, a spectacular reminder of Franklin’s unique, extraordinary presence. Hudson follows this singing “Here I Am (Singing My Way Home,” a new song composed for the film. This pleasant if unspectacular song highlights the exceptional Franklin songbook and comes across as a clumsy attempt for a Best Song Oscar nomination. It seems a step-down and superfluous.
Respect touches on many of the highs and lows of Aretha Franklin’s rise to fame. Franklin had a complicated life, and while Respect is sincere, Franklin deserved a more complex approach to telling her story. But, in the end, Jennifer Hudson’s star performance shines through.
Rated PG-13, Respect is now playing in local theaters.
Film Schedule:
Prev
