Spotlight on the Independent Arts: Night Catches Us

It’s time again for The Schleicher Spin to put a Spotlight on the Independent Arts.  

The goal of this recurring feature is to give exposure to, encourage collaboration with, and provide honest critiques for independent artists.  The plan is to feature filmmakers, writers, photographers, painters and musicians.  As an independent author, I feel it’s important to support and celebrate those working independently to forge their careers in the arts.   

If you are an independent artist interested in having your film, book, music or art considered by The Schleicher Spin for a Spotlight feature, please submit a comment. 

Our current entry will focus on the independent Philly-based film, Night Catches Us, currently available on DVD. 

Night Catches Us

Independent FilmNight Catches Us

The Lowdown:  A former Black Panther (Anthony Mackie) returns to his Philadelphia neighborhood in 1976 to reconnect with the widow (Kerry Washington) of his friend who was gunned down by police four years earlier.

The Direction:  Tanya Hamilton has a good photographer’s eye.  Her shots are nicely framed, and her camera movement either slow or static, allowing us to take in all that is in frame…her nicely appointed Philly neighborhoods, well dressed cast and period details.  There are a few flourishes (including an animated sequence) and one great scene shot from the eye view of a crouching man trying to evade police where every detail (including fresh lawn clippings and overhanging tree limbs) lingers in the shot. Continue reading

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Well If You Must Scream

We can scream if we want to!

We can scream if we want to!

Inspired by the current polling going on at Wonders in the Dark  (which for my money is the best movie blog site on the web right now) concerning the Best Films of the 1970’s, I decided to catch up on some of the great films from that decade I had yet to see.  One thing led to another, and there I was with the obscure Edvard Munch sitting atop my Netflix queue.  Directed by renowned forefather of the docudrama, Britian’s Peter Watkins, this complex and nearly four hour long biopic of Norwegian post-Impressionist painter Edvard Munch was originally made as a miniseries for Norwegian/Swedish TV in 1974.  It was released theatrically around the world in 1976 and was recently done up as a two-disc special edition on DVD.  I watched it in those two parts over the course of two nights and was completely transfixed.

Brazenly presented in the style of a documentary, Watkins’ film begs you to feel as if his cameras were literally there from “moment one” in Munch’s childhood during the late 1800’s all they way up through the abrupt close of the film half way through his life around 1910.  Continue reading

A Review of Ron Howard’s “Frost/Nixon”

CAPTION:  Kevin Bacon tells Frank Langella, “You are not a horse.”

Mr. Nixon, It’s Time for Your Close-up, 18 December 2008
8/10
Author: David H. Schleicher from New Jersey, USA

Ron Howard’s competent film adaptation of Peter Morgan’s play (who also scripted and co-produced here) dramatizes the famous Frost/Nixon interviews from 1977. At one point in the film, Kevin Bacon’s character explains to Frank Langella’s Nixon that a portion of the interview will focus on “Nixon the man”. To which Nixon retorted, “As opposed to what? Nixon the horse?” Of course what was on everyone’s mind at the time was Watergate and how American was never able to give Nixon the trial they so desperately wanted. Through the unlikely Frost interviews, the American people finally heard the truth behind the scandal–straight from the horse’s mouth.

Morgan’s source material translates smoothly onto film. Much as he did with The Queen, he mixes a behind the scenes look at the immediate time period leading up to the historical event and closes with an almost word-for-word dramatization of said event. Also, like The Queen, we have the excellent Michael Sheen on board, who after playing Tony Blair now takes on the mannerisms of the legendary British talk-show host and man-about-town David Frost. Director Ron Howard nicely interweaves archival news footage, faux-post interviews with the secondary players, and the dramatic reenactments of the actual Frost/Nixon interviews. Howard’s studied but pedestrian style of direction lends itself well to this type of docudrama as he allows the actual events to speak for themselves and the fine performances to shine on their own. Though it takes quite awhile to get where it’s going, the final interview where Frost takes Nixon head-on about the Watergate cover-up is a payoff well worth the wait.

Of course the most fascinating aspect of the film is Frank Langella’s portrayal of a shamed and swollen Richard Nixon. He plays him as a fallen man desperate for an act of contrition but still in too deep with his old trickery and slick ways. His performance, and the way it connects with the audience, is wonderfully layered. On one level, we have an aged actor thought to be well past his prime firing back on all cylinders in a renaissance role that will likely lead to a showering of award nominations. The way the film reduces his performance to that one lingering close-up after being steamrolled by Frost on the last day of the interview leaves a lasting impression. But it also works on another level as it is meant to represent the reduction of Nixon’s political life to that one lingering close-up on the television monitor when he realized it’s all over for him. The audience members who remember watching the interviews and can picture the actual close-up they saw on their TV screens are now allowed to share a communion with the audience members who weren’t even born yet and now only have a memory of Langella’s face on the silver screen. In that sense, Langella truly became Nixon, and his performance will not soon be forgotten.

Originally Published on the Internet Movie Database:

http://www.imdb.com/title/tt0870111/usercomments-34