“Black Mirror” (2011 – ) is a British anthology series created by satirist Charlie Brooker exploring potential unintended social/psychological effects of technology. It’s sort of an updated and darker version of The Twilight Zone offering (often pessimistic) commentary on society, government, culture and relationships.
Because tomorrow marks the birthday of Jack Nance, I’d like to bring attention to “I Don’t Know Jack” (2002), a documentary on cult actor Jack Nance exploring the uniqueness of his character, his unconventional career, and the strange circumstances surrounding the death of his wife in 1991 and himself five years later. The film features interviews with family and friends including Catherine Coulson, Brad Dourif, Dennis Hopper, David Lynch and Charlotte Stewart.
“I Am Cuba” (1964) is a Soviet-Cuban co-production directed by Mikhail Kalatozov which ties together several stories depicting different aspects of the Cuban experience during the pre-Castro era. Upon release (and long after), the film was largely ignored, being too Communist for western audiences and not revolutionary enough for audiences in the Soviet Union. Fortunately, in the 1990s the film was re-discovered and championed by prominent directors such as Martin Scorsese and Francis Ford Coppola who with Milestone Films re-released the film at New York’s Film Forum in 1995. I Am Cuba is notable for inspiring and emotionally powerful scenes as well as technical achievements such as complex tracking shots and striking cinematography utilizing wide angle lenses and infrared film stock.
“Light Years” (1988) is the US version of the film “Gandahar” directed by René Laloux who previously directed the mind-bending animated sci-fi classic “Fantastic Planet”. While the animation in Light Years is of lesser quality than Fantastic Planet, it’s just as imaginative and ambitious in its depiction of an alien world. Its plot centers on the bioengineering based civilization of Gandahar who, with the help of a mutant race they created struggle for survival against an army of automatons. While the French version has a superior soundtrack by Gabriel Yared, the US version does feature fine voice actors including Glenn Close, Bridget Fonda, David Johansen and Christopher Plummer as well as an intelligent screenplay adaptation by Isaac Asimov.
“Kamikaze Girls” (2004) is a film adaptation of the novel and manga “Shimotsuma Story” directed by Tetsuya Nakashima. It’s about the unlikely friendship between girls of vastly different subcultures; one a “Lolita” obsessed by Rococco-era French fashions and the other a member of a “Yanki” biker gang modeled after 1950’s American rock and rollers. Besides the underlying theme of friendship transcending cultural differences, it’s also a coming-of-age story with a positive message about the importance of pursuing one’s dreams, rejecting conformity, and thinking/acting independently. Similar to Nakashima’s other films such as “Memories of Matsuko” and “Paco and the Magical Book” (as well as Jeunet’s “Amélie”) the viewing experience of Kamikaze Girls is enhanced by surrealistic touches such as over-saturated colors and inventive camera/editing work.
Update: no longer on YouTube but still available with subtitles here.
The Men Who Killed Kennedy is a 9-part video documentary series about the John F. Kennedy assassination by Nigel Turner that began with two 50 minutes segments originally aired on 25 October 1988 in the United Kingdom, titled simply Part One and Part Two. The programmes were produced by Central Television for the ITV network, and were immediately followed by a studio discussion on the issues titled The Story Continues, chaired by broadcaster Peter Sissons. The United States corporation, Arts & Entertainment Company, purchased the rights to the original two segments. In 1989, the series was nominated for a Flaherty Documentary Award. The series was re-edited with additional material into three 50 minute programmes in 1991, which were again shown by ITV. A sixth episode appeared in 1995. The series typically aired in November every year, but also from time to time during the year as repeats. But in November, 2003, when three additional segments (“The Final Chapter”) were added by the History Channel, the consequences were so immense that the entire series is no longer aired, though the History Channel still sells DVD copies of the first six documentaries.
Fair Use:
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This is the mindblowing 6-part,10 hour, video documentary series Evidence of Revision whose purpose is to present the publicly unavailable and even suppressed historical audio, video and film recordings largely unseen by the American and world public relating to the assassination of the Kennedy brothers, the little known classified “Black Ops” actually used to intentionally create the massive war in Viet Nam, the CIA “mind control” programs and their involvement in the RFK assassination and the Jonestown massacre and other important truths of our post-modern time.
Director Todd Haynes is well-known for his arty, fictionalized depictions of music iconography. Velvet Goldmine was a glam rock epic, with characters modeled after Bowie and Iggy, while I’m Not There features seven different actors portraying “fictional” facets of Bob Dylan’s personality or mystique. Both films blur reality with stylized interpretations, but neither takes even a fraction of the liberties Haynes exercised with his 1987 grad school student film, Superstar: The Karen Carpenter Story.
The film opens up on Karen’s death, then flashes back to narrate her rise to fame. It’s a spasmodic format—switching between interviews with peripheral music industry people, random footage and fascinatingly elaborate mise-en-scène reenactments staged with Barbie dolls and melodramatic voice-overs. In reference to Karen’s anorexia, Haynes actually whittled down her Barbie effigy with a knife for later scenes, mimicking the progressive emaciation of her body. It’s a dark portrayal of a slow death, Karen and Barbie, both icons of American perfection, wasting away before our eyes.
Superstar: The Karen Carpenter Story is technically illegal to exhibit, although since the advent of YouTube, it’s a bit of a moot point (the upload embedded below was posted in 2012). Karen’s brother Richard sued Haynes for copyright infringement. MOMA has a copy but even they aren’t allowed to screen it. Even if Haynes hadn’t used Carpenters songs, there’s a good chance Richard Carpenter would’ve found basis for a lawsuit. Haynes portrays Karen as the victim of her narcissistic and tyrannical family, even suggesting Richard was closeted.
It’s difficult not to be sympathetic to Richard Carpenter who probably viewed the film as mere ghoulish, exploitative sensationalism. It’s a strangely invasive and voyeuristic piece of art, and the argument could be made that it’s totally unethical in its ambiguous, semi-biographical fiction. It’s also totally hypnotic, with a compelling narrative and a pioneering experimentalism that makes it one of the great cult classics.
“Heaven and Earth” (1993) was released at the height of director Oliver Stone’s popularity (made between JFK and Natural Born Killers) and is considered the final film of his “Vietnam Trilogy” following Platoon and Born on the Fourth of July. While Heaven and Earth is just as powerful and provocative (if not more so) than Stone’s other films, it has never received the popular and critical recognition it deserves. Unlike the other films of the Vietnam Trilogy (and most films about war) Heaven and Earth tells the story of an innocent civilian of a war-torn nation as well as the psychological impact of war on soldiers and their post-war life. The film features a remarkable debut performance by Hiep Thi Le and a career-best performance by Tommy Lee Jones.
After the Crash 