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Hidden Netflix Gems – Bringing Out the Dead

Hidden Netflix Gems is a new feature designed to help readers answer that burning question, “What should I watch tonight?” It will be updated every Saturday before the sun goes down.

Today’s entry is a hidden gem not only in the catalogue of Netflix, but also in that of beloved director Martin Scorsese, one of several underrated masterpieces so often overshadowed by more well-known ones like Goodfellas and Raging Bull. Along with films like The King of Comedy and After Hours, Scorsese’s 1999 film Bringing Out the Dead has been unjustly overlooked for the most part, and deserves more recognition than it has gotten. Sure, you could dismiss it as simply “Ambulance Driver” for its similarity to Scorsese’s breakthrough masterpiece, Taxi Driver, as well as the fact that both films were written by frequent collaborator Paul Schrader, but there is more to it than that. I’m certainly not saying it’s better than Taxi Driver, but it’s certainly different enough to warrant appraisal on its own merits.

The film follows three days in the life of constantly working New York City paramedic Frank Pierce (Nicolas Cage), who is so exhausted and depressed that he has begun to hallucinate. His most frequently recurring vision is of a young woman named Rose (Cynthia Roman), who he failed to save from a fatal overdose. Throughout the three days in which we witness his life, Frank is teamed with three different partners, each of whom seem to reflect different aspects of his personality and his viewpoint toward his job. Larry (John Goodman) does his best to not take his work home with him, looking at his work as simply a job by which he refuses to let himself be haunted. Marcus (Ving Rhames) is the polar opposite of Larry, a Christian who views his job as working the miracles of the lord, bringing the dead back to life. Tom Wolls (Tom Sizemore) represents pure, unchained id, a man who encourages Frank to release his own demons through naked aggression aimed at the patients he is meant to be helping.

Along the way, Frank saves an old man named Mr. Burke (Cullen Oliver Johnson), who is ultimately so far gone that he spends his recovery in an intensive care unit, repeatedly flatlining and being revived again. His former junkie daughter, Mary (Patricia Arquette), forms a tenuous bond with Frank, and the two of them find some hope for redemption in each other, though without the expected romantic subplot that would have undoubtedly been exploited in a lesser film. Though Arquette’s performance feels oddly flat and this is not Scorsese’s best film, it is also far from his worst, which makes it vastly superior to the average movie. Bringing Out the Dead is a fascinating look at a profession that is oddly underrepresented in the movies, and the depths of the human soul that profession must regularly plumb.

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Interview with Imogene Co-Director Shari Springer Berman

After years of directing documentaries, Shari Springer Berman made big waves in the independent film world with her first feature, American Splendor, co-directed with her husband and filmmaking partner Robert Pulcini. Since then, the pair has continued making narrative features such as The Nanny Diaries, The Extra Man, the HBO film Cinema Verite and the upcoming Imogene, starring Kristen Wiig and Annette Bening. I had a chance to speak briefly with Berman on Wednesday evening, as part of Columbia University’s panel on women filmmakers.

Ezra Stead: I’ve noticed a strong fascination in your films for a sort of cranky and eccentric, but lovable, type of character, such as Harvey Pekar (Paul Giamatti) in American Splendor or Henry Harrison (Kevin Kline) in The Extra Man. From what I’ve read about your next film, Imogene, with the title character faking a suicide in an attempt to win back her ex, it sounds like that character fits the bill. What attracts you to these kind of characters, and what else can you tell us about Imogene?

Shari Springer Berman: I am attracted to cranky, lovable people. Bob and I … both are; I don’t know why, I guess my therapist could probably answer that question better than I could [laughs]. I guess I love the idea of someone who isn’t overtly nice, and I feel like so many movies, especially Hollywood movies, it’s so about people being nice. One of the biggest notes when I write for studio films … is that the character has to be likable, and I think that people can be completely lovable and not, on the surface, nice. Some of the most amazing people I’ve met in my life are people who are a bit cranky, not necessarily traditionally nice, but underneath, some of the kindest, most giving people you’d ever want to meet … My grandmother was kind of a little bit cold, and very snarky, but I knew she loved me more than anything in the world, and when she said something kind, it was very real. So I like characters like that … and Imogene is definitely a continuation of the slightly brittle but completely lovable, root-for-them, character. Imogene’s mom [Annette Bening] is not one of those people; she’s very out there and wears a lot on her sleeve – who she is, is very available.

ES: You started out making documentaries, and certainly some of the techniques you brought to American Splendor reflect that background. What kind of advantages and disadvantages do you think documentaries have over narrative, and vice versa?

SSB: It’s completely different. I love documentaries because you don’t know what you’re going to get. When you make a narrative film, your whole goal is to know what you’re going to get … In a documentary, when you’re approaching it the way I like to approach it, you go in with sort of a general idea and then you allow it to happen to you, and you’re open to all kinds of things, and there’s something really thrilling about that experience. It takes you in directions you had no idea you would ever go … Docs take years, and you have to just give yourself over to it. Sometimes it’s really boring, but I like the adrenaline of shooting verite footage – not seated interviews … but just going out and covering events – it’s this really crazy adrenaline rush, and I love it … I miss that sometimes. In this movie, Imogene, that we just shot, we wanted to shoot a scene of a guy walking around with this strange outfit … in Chinatown, and my ADs [assistant directors] were stopping everybody and we were just putting this guy in a crowd and letting him walk, and I was like, ‘Okay, you know what? We have to shoot this like a doc.’ I told the Ads to go get a cup of coffee … I’m gonna take over … and we got all this stuff … genuine reactions to this guy walking down this massive street, and it was one of the most fun days … Working with actors is probably my favorite part – that or writing – is my favorite part of the filmmaking process.

ES: How do you and your husband divide up the duties of directing a film? What is your working process like?

SSB: We have different strengths, and I think that’s why it works, because we sort of take different areas and run with it. I do a lot of … sort of organizational stuff, and he spends a lot of time with the camera, the shots. I used to be a casting director, so I do a lot of casting and, obviously, Bob’s involved in it and I’m involved in everything, too, but these are just the things that we each take the lead on … I talk to the actors, that’s my sort of arena, and if Bob wants something [from them], he’ll tell me … but usually, we see eye to eye. I mean, you have to have the same aesthetic approach; if you don’t see the world the same way and you don’t like the same films, then you’re gonna constantly be battling, so luckily, we tend to agree a lot.

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Hidden Netflix Gems – Mary and Max

Hidden Netflix Gems is a new feature designed to help readers answer that burning question, “What should I watch tonight?” It will be updated every Saturday before the sun goes down.

The first feature from Australian filmmaker Adam Elliot, the main creative force behind the Oscar-winning 2003 animated short Harvie Krumpet (which is also superb), Mary and Max tells the true story of young Mary Daisy Dinkle (Bethany Whitmore) a lonely eight-year-old Australian girl who lives with her sherry-swilling, kleptomaniac mother Vera (Renee Geyer) and her taxidermy enthusiast father, a character so sad and dull we never even hear his voice. One day, she decides to pick a name out of an American phone book and write to whomever she finds in this way, in order to ask burning questions about America, such as “Are babies found in soda cans?”

The person her letter eventually reaches is 44-year-old Max Horovitz (Philip Seymour Hoffman), a morbidly obese, atheistic man living in New York City who, despite his atheism, was raised Jewish and still wears his yarmulke every day, “to keep my brain warm.” Sharing a love of chocolate and a sweet innocence that is far more commonplace at Mary’s age than at Max’s, they begin a 20-year friendship composed entirely of written correspondence. As Mary grows into adulthood, at which point she is voiced by Toni Collette, and Max struggles with his love of “chocolate hot dogs” (chocolate bars housed in hot dog buns) and subsequent gradual weight gain, their friendship grows and develops into something larger than themselves.

In the wrong hands, this material could have become overly sentimental, and detractors might claim that it is too “quirky” (that is, if it had actually made it into theaters and been seen by the much wider audience it deserves), but Elliot’s gorgeous, painstaking stop-motion animation and the excellent vocal work by the two leads (particularly Hoffman, who has never been more convincing) make this a truly remarkable film unlike any other feature I have seen. As in Harvie Krumpet, Elliot brilliantly balances wonderful, whimsical humor with heartbreaking poignancy and creates characters that effortlessly feel more real and alive than at least 90 percent of those found in live-action films.

Throughout the film, as Mary falls in love with her neighbor, Damien (Eric Bana), and becomes a shining star of academia, and Max struggles with his severe social anxiety and learns that he has Asperger’s Syndrome, there are moments of laughter and tears. However, the film never resorts to cheap heartstring tugging; instead, it offers true insight and brilliant poetry, both visually and in the excellent writing. The third act contains each of these in quick succession, first in a gut-wrenching visual sequence involving Mary, and then in a wonderfully narrated letter she receives from Max. The final scene brings both elements together marvelously.

Mary and Max is a treasure that I am happy to have dug out of the ground of obscurity. I highly recommend you take a chance on it as soon as possible.

 

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Top Chef All-Stars: halfway home

After a week hiatus, “Top Chef All-Stars” returned last night and got from nine chef-testants down to eight, which means we’re past halfway. They began with 17 chefs a little over two months ago. So last night’s episode began with host Padma Lakshmi introducing “Ultimate Collection” host and noted fashion designer Isaac Mizrahi. Isaac would judge the quick fire challenge, which was to create food that was fashion-conscious–i.e. not something that would be eaten, but that was made simply to look good. That’s difficult! You can surely be a great chef but not be able to make something look visually appealing all the time.

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The Next Food Network Star: final four

This week during “The Next Food Network Star,” mentor Giada Di Laurentiis announced that the finalists who made it past this week were going to New York City to finish the competition. So much for having this season in a different city, huh? They must have realized they had way more resources in New York to draw from.

Anyway, this episode began with Giada asking the chefs to make their signature dishes and to present them on camera in a one-minute presentation. Sounds too easy for this point in the competition, doesn’t it? Well it was….Giada showed up 10 minutes in and threw them a curve…they would have to add in their least favorite ingredient, and to present them with that ingredient were their family members. Pretty emotional stuff! Aria’s was anchovies, Tom’s white pepper (really?), Aarti’s was okra, Brad’s was ranch dressing and Herb’s canned peas.

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“Chapter 1. He adored New York City…”

Whatever else is true on this tragic anniversary, the city of New York remains our nation’s hub. And few ever celebrated it its central borough on film better than Woody Allen in the much-imitated opening of his 1979 masterpiece, “Manhattan.” (This is the first 10 minute segment of the film, which is posted in its entireity on YouTube. The relevant section begins on 0:15 and ends at 4:00.)

Here it is, in my choice for the greatest of all movie formats, wide screen and black and white; music by George Gershwin. Silly talk by Woody.

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American Idol: Pass the salt shaker

Last night the “American Idol” auditions moved to Salt Lake City, home of last season’s runner-up, David Archuleta. They made reference to the fact that there are a lot of nice people who live in Salt Lake, much like young David. That’s amazing considering that many people who live there do not drink alcohol. But I digress….the judges had to sift through a lot of bad auditions, probably many more than they showed last night, to find a few jewels. Here were the bad and the good from this round…..

THE BAD

Tara Mathews, a 21-year old local Goth girl (a Goth in Salt Lake is like a peanut in Italian food) said that she had ESP powers. Well that’s good, because she sure can’t sing….they only showed a few seconds of this girl Aleesha, who I’ll call vibrato girl, but her audition made me laugh out loud…..there was Chris, who brought along his friend Greg the Rabbit. Greg wore a pink bunny costume Read the rest of this entry »

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Toots

Saddled with a predilection, if not quite an outright addiction, to too much booze and excessive gambling, Toots Shor somehow avoided being just another Jewish tough guy/borderline crook and instead became one of the most legendary restaurateurs in the history of New York City. His food wasn’t gourmet fair, but that wasn’t really expected in mid-century Manhattan. The key to his success was his way with people, lubricated with plenty of whiskey, and that made his restaurant-saloon into a kind of Valhalla populated by legends of three worlds: sports, entertainment, and crime.

Directed by Schor’s filmmaker granddaughter, Kristi Jacobson, this affectionate but honest documentary portrait from 2006 is constructed largely from reminisces by authors Nicholas Pileggi (“Casino“), Pete Hamill, and Gay Talese; sports personalities Frank Gifford, Yogi Berra, and Joe Garagiola; uber-anchor Walter Cronkite, and many others. More comedy than tragedy, it’s the story of a man whose irresponsibility when it came to practically everything, especially money, was only matched by his sentimental attachment to both friends and family. A full-on gonif who once made his living as professional muscle, but apparently never crossed the line into Murder, Inc. territory, Toots was not a particularly “good” person by any normal definition — except often to the people he loved, and there were apparently quite a lot of them. It’s hard not to like a guy like that.

Click to buy “Toots”

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The Biggest Loser: Final Four, But Wait…..

Last night’s “Biggest Loser: Families” got us down to the final four for the season, but there are two episodes left including the live finale on December 16. And as she does as sneaky as ever, host Alison Sweeney made mention of the fact that there would be a “final three” and another twist. Uh-oh. They already brought one eliminated player back…what next? Really now, this show is starting to become a cartoon of itself, and that’s not good.

But down to business. Last night they showed the remaining five players go to New York City for a makeover with Christian Soriano. Now, I can tell you the quarterbacks and coaches from every NFL team, but I had no idea who this guy was, or what “Project Runway” was until Mrs. Mike pointed that out. Thanks, Mrs. Mike. Anyway, they all received makeovers which they would then debut on the “Tyra Banks Show.” The makeovers, honestly, were not all that great, but the contestants all look good because of the weight they lost. Vicky’s red hair looked, well, really bad. And the best part was that they each had a family member surprise them on stage. Those family members were also there to hang out and work out with the contestants for an extra day or two. Then it was back to the ranch.

There was a product placement of Jennie-O Turkey when Ed and Heba made trainer Bob Harper a “thank you” meal of turkey lettuce wraps. Then the challenge, which was to be suspended in a box 15 feet above a pool, holding yourself up as long as possible. Vicky was out first, but refused to drop into the water because she was scared. Then Heba, then Ed, then Renee, which left Michelle the winner. The prize was a spa package in some resort. Vicky, meanwhile, had to face her fear and jump, which she eventually did. Everyone was very nice and encouraging to the evil Vicky, and they actually wound up showing a soft side of her.

At the weigh in, Heba lost the most, followed by Michelle and Vicky. Renee and Ed were below the yellow line. So do the math….two blue shirts to one black shirt were voting, which meant for sure Renee was going home, right? Well, they made us all think that maybe Vicky would vote Ed off since he has a lot of weight to lose. But in the end, she stayed true to her “blue” teammates and voted Renee off.

Renee was shown coming home at the church where it all began, when Jillian showed up to recruit her and Michelle. And she has really lost a ton of weight, and looks great. So now we’re left with Ed, Heba, Vicky and Michelle. They spoke about the twist and that America may vote off the next contestant….let me tell you something Vicky, you’d better not be below the line if that’s the case next week, because I am quite sure no one in America will want to keep you there except maybe your own family. You are still evil, Vicky!

With that, we’re winding down and let’s hope the final two episodes are exciting with a limit on bickering and gameplay and twists. See you next week!

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