'A Beautiful Day In The Neighborhood': Can You Say 'Sincere' And 'Heartening?'
The Hit Movie 'Parasite' Puts Basement Structures In Structural Inequality
'Mike Wallace Is Here': A Newsman Who Shined A Spotlight — And Basked In It
Lots Of Love And One Big Lie — 'The Farewell' Reminds Us Time Is Short
In Documentary 'Marianne & Leonard: Words Of Love,' Free Love Comes At A Cost
Love Finds Ali Wong And Randall Park In 'Always Be My Maybe'
Elton John Biopic 'Rocketman' Is A Surprising Song-And-Dance Spectacular
'Dear Ex': A Man Dies, Leaving Behind A Wife, A Son And A Secret Gay Lover
'You Better Own This': How Rami Malek Came To Embody Freddie Mercury
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'Heartening?'","publishDate":1574434826,"format":"standard","headTitle":"‘A Beautiful Day In The Neighborhood’: Can You Say ‘Sincere’ And ‘Heartening?’ | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>On the face of it, director Marielle Heller’s exhilaratingly impolite indie resume doesn’t make her an intuitive fit for a movie about the nicest man in the world — let alone a big studio picture starring nice Tom Hanks.\u003c/p>\n\u003cp>Heller’s 2015 feature debut, \u003cem>The Diary of a Teenage Girl\u003c/em>, was voiced by a sorry-not-sorry young woman who initiates an affair with her mother’s boyfriend. In her second, last year’s \u003cem>Can You Ever Forgive Me?\u003c/em>, Heller cast the beloved Melissa McCarthy as the robustly unlikable real-life literary forger Lee Israel. Next to Mister Rogers — in the eyes of many, a saint and a children’s hero — these two seem not to stack up.\u003c/p>\n\u003cp>Heller is not much into saints, but she delights in ill-fitting outliers. And Fred Rogers, in his slow and soft-voiced way, was a willing anachronism to the brash new late-sixties world that greeted the arrival on PBS of his earnestly old-fangled children’s television show, \u003cem>Mr. Rogers’ Neighborhood\u003c/em>. Rogers’ real-life buddy, journalist Tom Junod (Matthew Rhys plays Junod’s cinematic stand-in “Lloyd Vogel” in Heller’s film) lovingly described the kid-show-host as “a rather peculiar man.”\u003c/p>\n\u003cp> [aside tag='fred-rogers, mister-rogers, fredrogers, misterrogers' label='Learning from Mister Rogers']\u003c/p>\n\u003cp>So he was, and how much more so he seems now, in today’s quarrelsome noise. Rogers was a Presbyterian minister and theologian whose on-set uniform was a comfy cardigan, tie, and sneakers. Turned off by the shrieking pie-in-the face cartoons that were standard children’s television fare, he slowed the pace way down, listened to children’s darkest fears and anxieties without wishing them away, and showed them how to manage those fears. The roots of his empathy in his own troubled childhood were beautifully told in Morgan Neville’s lovely 2018 documentary, \u003cem>Won’t You Be My Neighbor?\u003c/em>, which became the top-grossing biographical documentary ever.\u003c/p>\n\u003cp>\u003cem>A Beautiful Day\u003c/em> is not that story; it’s not really Fred’s story at all. The movie is a kind of procedural that shows how Rogers worked — persnickety and willfully distractible, he drove his adoring crew round the bend — on and off the set the set of his show, in this case to free an unhappy man of an enormous psychological burden he’d carried all his life. Inspired by Junod’s 1998 \u003cem>Esquire\u003c/em> cover, the film turns on the unexpected friendship that grew between the two men out of an assignment that the hard-hitting news reporter was forced into by his hard-nosed editor. (Were he alive today, I’m sure Fred would join me in saying: So nice to see you again, Christine Lahti!). Sensitively played by Rhys (\u003cem>The Americans\u003c/em>), Lloyd is a glum and grumpy fellow despite his glitzy job and new fatherhood with a supportive wife (Susan Kelechi Watson).\u003c/p>\n\u003cp>Within minutes of their first phone call, Rogers (Tom Hanks) senses that Lloyd is in unresolved emotional trouble. The movie’s running joke, and its tenderly serious point, is Fred’s gently firm switch of the spotlight back on his resistant interlocutor, reframing the questions Lloyd is wrongly asking. Heller sprinkles the action with realist scenes of Lloyd’s current struggles with his absentee father (Chris Cooper), a feckless drunk trying ham-fistedly to make amends. But the film is also a fantasy, and in lesser hands than Heller’s, the visual devices that carry us through \u003cem>A Beautiful Day\u003c/em> — toy-filled miniature models of The Neighborhood and the cities both men travel through — might register as unbearably coy.\u003c/p>\n\u003cp>In fact the sets feel organic to Rogers’ central belief that in order to become fully functioning adults, everyone — especially the suffering children that he and Lloyd once were — should remember what it felt like to be a child. Lloyd, who has built an impregnable fort around his pain and rage toward his father, finds himself imaginatively folded into the puppet-littered sets Rogers has built for his younger audience. Some of this is played for laughs, others to warm the heart. But lest you think Heller gilds the lily, Junod’s article is there to verify some of the movie’s seemingly improbable moments, among them a scene in which Fred is serenaded with one of his own songs by passengers in his subway car. Even if you think Rogers’ psychological model is simplistic, you can’t help but climb aboard.\u003c/p>\n\u003cp>Operating with a shrewd mix of imitation and interpretation, Hanks deepens Fred Rogers from a man-child with a prankish sense of humor into a healer whose struggles with his own demons (as an overweight child he was bullied and called “Fat Freddie”) have led him to empathize with, as Lloyd puts it, “broken people like me.” Hanks’s sincere performance argues for a heartening lack of space between Rogers’ public and private personas, between himself and his puppets. He understood the darkness in children’s lives and gave them — and all the damaged Lloyds and Freds of this world — a way to grow into adults who understand that being good is endlessly renewable hard work. Welcome to a much-needed neighborhood.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Marielle Heller's new film isn't Fred Rogers' story — it's the story of two damaged outsiders (Tom Hanks and Matthew Rhys) finding a connection that overcomes the darkness in their childhoods. 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","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'A Beautiful Day In The Neighborhood': Can You Say 'Sincere' And 'Heartening?'","datePublished":"2019-11-22T15:00:26.000Z","dateModified":"2024-01-12T01:09:49.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Lacey Terrell","nprByline":"Ella Taylor","nprImageAgency":"Sony Pictures","nprStoryId":"779323085","nprApiLink":"http://api.npr.org/query?id=779323085&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/11/21/779323085/a-beautiful-day-in-the-neighborhood-can-you-say-sincere-and-heartening?ft=nprml&f=779323085","nprRetrievedStory":"1","nprPubDate":"Thu, 21 Nov 2019 17:00:00 -0500","nprStoryDate":"Thu, 21 Nov 2019 17:00:51 -0500","nprLastModifiedDate":"Thu, 21 Nov 2019 17:00:51 -0500","path":"/arts/13870245/a-beautiful-day-in-the-neighborhood-can-you-say-sincere-and-heartening","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the face of it, director Marielle Heller’s exhilaratingly impolite indie resume doesn’t make her an intuitive fit for a movie about the nicest man in the world — let alone a big studio picture starring nice Tom Hanks.\u003c/p>\n\u003cp>Heller’s 2015 feature debut, \u003cem>The Diary of a Teenage Girl\u003c/em>, was voiced by a sorry-not-sorry young woman who initiates an affair with her mother’s boyfriend. In her second, last year’s \u003cem>Can You Ever Forgive Me?\u003c/em>, Heller cast the beloved Melissa McCarthy as the robustly unlikable real-life literary forger Lee Israel. Next to Mister Rogers — in the eyes of many, a saint and a children’s hero — these two seem not to stack up.\u003c/p>\n\u003cp>Heller is not much into saints, but she delights in ill-fitting outliers. And Fred Rogers, in his slow and soft-voiced way, was a willing anachronism to the brash new late-sixties world that greeted the arrival on PBS of his earnestly old-fangled children’s television show, \u003cem>Mr. Rogers’ Neighborhood\u003c/em>. Rogers’ real-life buddy, journalist Tom Junod (Matthew Rhys plays Junod’s cinematic stand-in “Lloyd Vogel” in Heller’s film) lovingly described the kid-show-host as “a rather peculiar man.”\u003c/p>\n\u003cp> \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"tag":"fred-rogers, mister-rogers, fredrogers, misterrogers","label":"Learning from Mister Rogers "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So he was, and how much more so he seems now, in today’s quarrelsome noise. Rogers was a Presbyterian minister and theologian whose on-set uniform was a comfy cardigan, tie, and sneakers. Turned off by the shrieking pie-in-the face cartoons that were standard children’s television fare, he slowed the pace way down, listened to children’s darkest fears and anxieties without wishing them away, and showed them how to manage those fears. The roots of his empathy in his own troubled childhood were beautifully told in Morgan Neville’s lovely 2018 documentary, \u003cem>Won’t You Be My Neighbor?\u003c/em>, which became the top-grossing biographical documentary ever.\u003c/p>\n\u003cp>\u003cem>A Beautiful Day\u003c/em> is not that story; it’s not really Fred’s story at all. The movie is a kind of procedural that shows how Rogers worked — persnickety and willfully distractible, he drove his adoring crew round the bend — on and off the set the set of his show, in this case to free an unhappy man of an enormous psychological burden he’d carried all his life. Inspired by Junod’s 1998 \u003cem>Esquire\u003c/em> cover, the film turns on the unexpected friendship that grew between the two men out of an assignment that the hard-hitting news reporter was forced into by his hard-nosed editor. (Were he alive today, I’m sure Fred would join me in saying: So nice to see you again, Christine Lahti!). Sensitively played by Rhys (\u003cem>The Americans\u003c/em>), Lloyd is a glum and grumpy fellow despite his glitzy job and new fatherhood with a supportive wife (Susan Kelechi Watson).\u003c/p>\n\u003cp>Within minutes of their first phone call, Rogers (Tom Hanks) senses that Lloyd is in unresolved emotional trouble. The movie’s running joke, and its tenderly serious point, is Fred’s gently firm switch of the spotlight back on his resistant interlocutor, reframing the questions Lloyd is wrongly asking. Heller sprinkles the action with realist scenes of Lloyd’s current struggles with his absentee father (Chris Cooper), a feckless drunk trying ham-fistedly to make amends. But the film is also a fantasy, and in lesser hands than Heller’s, the visual devices that carry us through \u003cem>A Beautiful Day\u003c/em> — toy-filled miniature models of The Neighborhood and the cities both men travel through — might register as unbearably coy.\u003c/p>\n\u003cp>In fact the sets feel organic to Rogers’ central belief that in order to become fully functioning adults, everyone — especially the suffering children that he and Lloyd once were — should remember what it felt like to be a child. Lloyd, who has built an impregnable fort around his pain and rage toward his father, finds himself imaginatively folded into the puppet-littered sets Rogers has built for his younger audience. Some of this is played for laughs, others to warm the heart. But lest you think Heller gilds the lily, Junod’s article is there to verify some of the movie’s seemingly improbable moments, among them a scene in which Fred is serenaded with one of his own songs by passengers in his subway car. Even if you think Rogers’ psychological model is simplistic, you can’t help but climb aboard.\u003c/p>\n\u003cp>Operating with a shrewd mix of imitation and interpretation, Hanks deepens Fred Rogers from a man-child with a prankish sense of humor into a healer whose struggles with his own demons (as an overweight child he was bullied and called “Fat Freddie”) have led him to empathize with, as Lloyd puts it, “broken people like me.” Hanks’s sincere performance argues for a heartening lack of space between Rogers’ public and private personas, between himself and his puppets. He understood the darkness in children’s lives and gave them — and all the damaged Lloyds and Freds of this world — a way to grow into adults who understand that being good is endlessly renewable hard work. Welcome to a much-needed neighborhood.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13870245/a-beautiful-day-in-the-neighborhood-can-you-say-sincere-and-heartening","authors":["byline_arts_13870245"],"categories":["arts_74","arts_90","arts_235","arts_75"],"tags":["arts_3785","arts_7928","arts_2882"],"affiliates":["arts_137"],"featImg":"arts_13870248","label":"arts_137"},"arts_13869623":{"type":"posts","id":"arts_13869623","meta":{"index":"posts_1591205157","site":"arts","id":"13869623","score":null,"sort":[1573221635000]},"guestAuthors":[],"slug":"the-hit-movie-parasite-puts-basement-structures-in-structural-inequality","title":"The Hit Movie 'Parasite' Puts Basement Structures In Structural Inequality","publishDate":1573221635,"format":"audio","headTitle":"The Hit Movie ‘Parasite’ Puts Basement Structures In Structural Inequality | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The South Korean movie \u003cem>Parasite\u003c/em>, a tale of the rich Park family and the poor Kim family, is an international sensation — partly because of universal themes like the conflict between haves and have-nots. But certain elements of \u003cem>Parasite\u003c/em> are specifically South Korean, including its architecture.\u003c/p>\n\u003cp>“When I was little, I did live in a house at one point, but mostly I grew up in apartment complexes,” says director Bong Joon-ho, who spoke with NPR through an interpreter at the Culver City, Calif. offices. “So I mostly lived on the ninth floor, the 13th floor, so I lived mid-air. In Korea during the 1970s and ’80s, apartment complexes symbolized the middle class.”\u003c/p>\n\u003cp>You don’t see much of the middle class in \u003cem>Parasite\u003c/em>. Its action toggles from a gleaming modernist mansion floating in the hills above Seoul to a squalid basement apartment.\u003c/p>\n\u003cp>Gina Kim, a professor at UCLA \u003ca href=\"http://www.ginakimfilms.com/\">and filmmaker\u003c/a> originally from South Korea, notes that similar mansions can be found nearly anywhere in the world: Berlin, Dubai, Westchester County in New York. But the semi-basement apartment is particular to Seoul, she says: It dates from the days of the nuclear standoff between the United States and the Soviet Union.\u003c/p>\n\u003cp>“Everyone was paranoid after the Korean War, and they started to build bunkers in all the buildings, even in big apartment buildings,” she says. “So that space depicted in the film, the semi-basement, is a bunker in a way, and it was used as a bunker in the 1970s.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s more than one bunker in the movie, but the semi-basement bunker is the primary home for the Kim family, who serve, more or less, as \u003cem>Parasite\u003c/em>‘s anti-heroes. Renting out such semi-basements as residences was illegal for a long time, Kim says. They were filled with mold and pests, and prone to floods; people who lived there developed chronic coughs and skin conditions.\u003c/p>\n\u003cp>But over just a few decades, South Korea went from being one of the world’s poorest economies to the eleventh-largest. Kim says the government was compelled to legalize these semi-underground apartments to accommodate workers pouring in. That doesn’t mean they became desirable.\u003c/p>\n\u003cp>“People can look into them,” Kim says. “People pee on the windows. People park their cars [in front of them], blocking whatever little sunlight they have.” \u003c/p>\n\u003cp>Boon Jong-ho says the family in the basement wants to improve their situation, but they’re mired in the muck — literally and figuratively. \u003c/p>\n\u003cp>“These semi-basement homes are only half underground. That’s very similar to the psychology of our protagonists,” he says. “We became a wealthy country very fast. And people who weren’t able to board that fast train towards wealth, they feel lost. And they feel a sense of inferiority.”\u003c/p>\n\u003cp>“The economy is not just about numbers,” he says. “It also carries a lot of emotion as well.” \u003c/p>\n\u003cp>These themes have played out in Bong’s earlier films, \u003ca href=\"https://www.npr.org/2014/06/29/326154752/in-snowpiercer-a-never-ending-train-ride-and-a-society-badly-off-track\">especially his 2013 class parable\u003c/a> \u003cem>Snowpiercer\u003c/em>, as well as in South Korean popular culture more generally. Gina Kim points to a 2008 indie rock hit “Cheap Coffee” by Chang Kiha, which speaks to young people failed by dreams of class mobility. \u003c/p>\n\u003cp>https://youtu.be/LwSnYGXZ808\u003c/p>\n\u003cp>Her translation of the opening lyrics:\u003c/p>\n\u003cblockquote>\n\u003cp>I drink cheap coffee\u003cbr>It’s not even lukewarm and I get heartburn\u003cbr>My feet get stuck on the clammy linoleum floor and make a loud thud as they separate from the floor.\u003cbr>A cockroach skitters by but I don’t even care\u003cbr>I just wonder why my cough doesn’t stop in dark mornings.\u003c/p>\n\u003c/blockquote>\n\u003cp>The metaphors here, Kim says, are not especially subtle. But then again, neither is the story — in \u003cem>Parasite\u003c/em> and around the world — of structural inequality.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited the broadcast version of this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Hit+Movie+%27Parasite%27+Puts+Basement+Structures+In+Structural+Inequality&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"In the South Korean film, architecture is a symbol of class conflict. Director Bong Joon-ho knows that mansions are all over — but a certain humble subterranean apartment is particular to Seoul.","status":"publish","parent":0,"modified":1705021842,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":681},"headData":{"title":"The Hit Movie 'Parasite' Puts Basement Structures In Structural Inequality | KQED","description":"In the South Korean film, architecture is a symbol of class conflict. Director Bong Joon-ho knows that mansions are all over — but a certain humble subterranean apartment is particular to Seoul.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Hit Movie 'Parasite' Puts Basement Structures In Structural Inequality","datePublished":"2019-11-08T14:00:35.000Z","dateModified":"2024-01-12T01:10:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Neda Ulaby","nprImageAgency":"Neon/CJ Entertainment","nprStoryId":"776388423","nprApiLink":"http://api.npr.org/query?id=776388423&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/11/05/776388423/the-hit-movie-parasite-puts-basement-structures-in-structural-inequality?ft=nprml&f=776388423","nprRetrievedStory":"1","nprPubDate":"Tue, 05 Nov 2019 23:53:00 -0500","nprStoryDate":"Tue, 05 Nov 2019 16:22:00 -0500","nprLastModifiedDate":"Tue, 05 Nov 2019 16:39:32 -0500","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/11/20191105_atc_the_hit_movie_parasite_puts_basement_structures_in_structural_inequality.mp3?orgId=1&topicId=1045&d=156&p=2&story=776388423&ft=nprml&f=776388423","nprAudioM3u":"http://api.npr.org/m3u/1776496257-4e8363.m3u?orgId=1&topicId=1045&d=156&p=2&story=776388423&ft=nprml&f=776388423","audioTrackLength":156,"templateType":"standard","featuredImageType":"standard","path":"/arts/13869623/the-hit-movie-parasite-puts-basement-structures-in-structural-inequality","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/11/20191105_atc_the_hit_movie_parasite_puts_basement_structures_in_structural_inequality.mp3?orgId=1&topicId=1045&d=156&p=2&story=776388423&ft=nprml&f=776388423","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The South Korean movie \u003cem>Parasite\u003c/em>, a tale of the rich Park family and the poor Kim family, is an international sensation — partly because of universal themes like the conflict between haves and have-nots. But certain elements of \u003cem>Parasite\u003c/em> are specifically South Korean, including its architecture.\u003c/p>\n\u003cp>“When I was little, I did live in a house at one point, but mostly I grew up in apartment complexes,” says director Bong Joon-ho, who spoke with NPR through an interpreter at the Culver City, Calif. offices. “So I mostly lived on the ninth floor, the 13th floor, so I lived mid-air. In Korea during the 1970s and ’80s, apartment complexes symbolized the middle class.”\u003c/p>\n\u003cp>You don’t see much of the middle class in \u003cem>Parasite\u003c/em>. Its action toggles from a gleaming modernist mansion floating in the hills above Seoul to a squalid basement apartment.\u003c/p>\n\u003cp>Gina Kim, a professor at UCLA \u003ca href=\"http://www.ginakimfilms.com/\">and filmmaker\u003c/a> originally from South Korea, notes that similar mansions can be found nearly anywhere in the world: Berlin, Dubai, Westchester County in New York. But the semi-basement apartment is particular to Seoul, she says: It dates from the days of the nuclear standoff between the United States and the Soviet Union.\u003c/p>\n\u003cp>“Everyone was paranoid after the Korean War, and they started to build bunkers in all the buildings, even in big apartment buildings,” she says. “So that space depicted in the film, the semi-basement, is a bunker in a way, and it was used as a bunker in the 1970s.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s more than one bunker in the movie, but the semi-basement bunker is the primary home for the Kim family, who serve, more or less, as \u003cem>Parasite\u003c/em>‘s anti-heroes. Renting out such semi-basements as residences was illegal for a long time, Kim says. They were filled with mold and pests, and prone to floods; people who lived there developed chronic coughs and skin conditions.\u003c/p>\n\u003cp>But over just a few decades, South Korea went from being one of the world’s poorest economies to the eleventh-largest. Kim says the government was compelled to legalize these semi-underground apartments to accommodate workers pouring in. That doesn’t mean they became desirable.\u003c/p>\n\u003cp>“People can look into them,” Kim says. “People pee on the windows. People park their cars [in front of them], blocking whatever little sunlight they have.” \u003c/p>\n\u003cp>Boon Jong-ho says the family in the basement wants to improve their situation, but they’re mired in the muck — literally and figuratively. \u003c/p>\n\u003cp>“These semi-basement homes are only half underground. That’s very similar to the psychology of our protagonists,” he says. “We became a wealthy country very fast. And people who weren’t able to board that fast train towards wealth, they feel lost. And they feel a sense of inferiority.”\u003c/p>\n\u003cp>“The economy is not just about numbers,” he says. “It also carries a lot of emotion as well.” \u003c/p>\n\u003cp>These themes have played out in Bong’s earlier films, \u003ca href=\"https://www.npr.org/2014/06/29/326154752/in-snowpiercer-a-never-ending-train-ride-and-a-society-badly-off-track\">especially his 2013 class parable\u003c/a> \u003cem>Snowpiercer\u003c/em>, as well as in South Korean popular culture more generally. Gina Kim points to a 2008 indie rock hit “Cheap Coffee” by Chang Kiha, which speaks to young people failed by dreams of class mobility. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LwSnYGXZ808'\n title='//www.youtube.com/embed/LwSnYGXZ808'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Her translation of the opening lyrics:\u003c/p>\n\u003cblockquote>\n\u003cp>I drink cheap coffee\u003cbr>It’s not even lukewarm and I get heartburn\u003cbr>My feet get stuck on the clammy linoleum floor and make a loud thud as they separate from the floor.\u003cbr>A cockroach skitters by but I don’t even care\u003cbr>I just wonder why my cough doesn’t stop in dark mornings.\u003c/p>\n\u003c/blockquote>\n\u003cp>The metaphors here, Kim says, are not especially subtle. But then again, neither is the story — in \u003cem>Parasite\u003c/em> and around the world — of structural inequality.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited the broadcast version of this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Hit+Movie+%27Parasite%27+Puts+Basement+Structures+In+Structural+Inequality&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13869623/the-hit-movie-parasite-puts-basement-structures-in-structural-inequality","authors":["byline_arts_13869623"],"categories":["arts_74","arts_90"],"tags":["arts_4178","arts_977","arts_769"],"featImg":"arts_13869629","label":"arts"},"arts_13862258":{"type":"posts","id":"arts_13862258","meta":{"index":"posts_1591205157","site":"arts","id":"13862258","score":null,"sort":[1564157489000]},"guestAuthors":[],"slug":"mike-wallace-is-here-a-newsman-who-shined-a-spotlight-and-basked-in-it","title":"'Mike Wallace Is Here': A Newsman Who Shined A Spotlight — And Basked In It","publishDate":1564157489,"format":"standard","headTitle":"‘Mike Wallace Is Here’: A Newsman Who Shined A Spotlight — And Basked In It | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>In the interview clip that opens \u003cem>Mike Wallace is Here\u003c/em>, a documentary about the legendarily feisty \u003cem>60 Minutes\u003c/em> interrogator, Bill O’Reilly is shown a clip where he berates his guests, telling most of them to “shut up.” To Wallace, this is evidence that O’Reilly is more an Op-ed columnist than a journalist, interested in other voices only as a means to assert his own. O’Reilly gives two telling, if contradictory, responses at once: “You’re a dinosaur,” he says. And then “You’re the driving force behind my career.”\u003c/p>\n\u003cp>https://youtu.be/dDSq2fF9flk\u003c/p>\n\u003cp>With this scene, director Avi Belkin establishes the same tough-but-fair attitude toward Wallace that Wallace himself has used to describe his hard-nosed approach to broadcasting. Getting called a “dinosaur” by a bloviating pundit like Bill O’Reilly is likely a badge of honor for Wallace, who can be said to represent the old-school journalistic integrity that he picked up early in his tenure at CBS, alongside the trusted and avuncular Walter Cronkite. But “You’re the driving force behind my career” connects Wallace with a performative style that’s more about creating riveting television than learning substantive truths. And that’s the ambiguous space in which this mesmerizing film operates.\u003c/p>\n\u003cp>Belkin keeps much of \u003cem>Mike Wallace is Here\u003c/em> inside the television box, building a profile clip by clip and holding Wallace in dialogue with himself. In a one-on-one interview with Wallace, his \u003cem>60 Minutes\u003c/em> colleague Morley Safer offers the most intimate, end-of-the-line questions about his career, but mostly as a prelude for Belkin to do the exploring. Enough footage exists of Wallace in action that no traditional talking-head interviews are necessary, which gives the impression of a life lived entirely in front of the camera, at the expense of everything and everyone else. He worked to move the cultural dialogue forward. He also worked to serve his ego and secure his own legacy.\u003c/p>\n\u003cp>One longstanding mark against Wallace is that he didn’t come from a journalistic background. He just wanted to be on television. Before and between gigs as a serious broadcaster, he’s shown appearing as a pitchman for Parliament cigarettes, Ajax cleaning powder, and Revlon make-up, and that commercial vigor is baked into his persona. His reputation as the ultimate “gotcha” journalist, earned first on groundbreaking shows like \u003cem>Night Beat\u003c/em> and \u003cem>The Mike Wallace Interview\u003c/em>, is tied both to an instinct for good theater and a no-nonsense hunger for the bottom line. He was going to get his answers or make his subjects sweat profusely through their denials and dissembling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wallace’s commercialism made it difficult for him to gain respect in Cronkite’s newsroom in the ’60s, but his fortunes changed dramatically when Don Hewitt, an executive producer, approached him in 1968 with the idea for \u003cem>60 Minutes\u003c/em>, a show inspired by the format of \u003cem>Life \u003c/em>magazine. The show performed dismally at first, but when Watergate broke, it pounced on the secondary and tertiary characters in the investigation, many of them sources Wallace knew from his time covering Richard Nixon’s presidential campaign. As \u003cem>60 Minutes\u003c/em> grew into a perennial ratings giant, so too did Wallace’s prominence as an interrogator who could keep eyes glued to the set.\u003c/p>\n\u003cp>\u003cem>Mike Wallace is Here\u003c/em> runs through the greatest hits of Wallace’s career, like his audacious interview with Ayatollah Khomeini during the hostage crisis and an exposé on General William Westmoreland that brought a $120 million libel suit against CBS. But many of the clips Belkin digs up are mirrors that reflect some insight into Wallace himself, like an exchange with Larry King where they discuss the contrast between their interview styles before getting to some uncomfortable similarities in their personal priorities. King accounts for his multiple divorces by saying he’d respond to an urgent call from CNN before an urgent call from his wife. Wallace repeatedly admits to his failings as a husband and father.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Belkin arrives at a subtle and complicated assessment of Wallace’s legacy that ties back to that first exchange with O’Reilly. The film makes the case that Wallace’s dogged commitment to getting answers is journalism in its purest form, holding powerful public figures to account. It also makes the case that Wallace opened the door for charlatans to swallow up air time and turn themselves into the stars of their own primetime dramas. He may have been the best interviewer on TV, but he never transcended the medium.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n","blocks":[],"excerpt":"Avi Belkin's documentary of the late '60 Minutes' interrogator explores the ambiguous space Wallace occupied between journalistic rigor and slick showmanship. ","status":"publish","parent":0,"modified":1705022480,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":798},"headData":{"title":"'Mike Wallace Is Here': A Newsman Who Shined A Spotlight — And Basked In It | KQED","description":"Avi Belkin's documentary of the late '60 Minutes' interrogator explores the ambiguous space Wallace occupied between journalistic rigor and slick showmanship. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Mike Wallace Is Here': A Newsman Who Shined A Spotlight — And Basked In It","datePublished":"2019-07-26T16:11:29.000Z","dateModified":"2024-01-12T01:21:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Scott Tobias","nprImageAgency":"Magnolia Pictures ","nprStoryId":"744154596","nprApiLink":"http://api.npr.org/query?id=744154596&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/07/25/744154596/mike-wallace-is-here-a-newsman-who-shined-a-spotlight-and-basked-in-it?ft=nprml&f=744154596","nprRetrievedStory":"1","nprPubDate":"Thu, 25 Jul 2019 17:00:00 -0400","nprStoryDate":"Thu, 25 Jul 2019 17:00:26 -0400","nprLastModifiedDate":"Thu, 25 Jul 2019 17:00:26 -0400","path":"/arts/13862258/mike-wallace-is-here-a-newsman-who-shined-a-spotlight-and-basked-in-it","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the interview clip that opens \u003cem>Mike Wallace is Here\u003c/em>, a documentary about the legendarily feisty \u003cem>60 Minutes\u003c/em> interrogator, Bill O’Reilly is shown a clip where he berates his guests, telling most of them to “shut up.” To Wallace, this is evidence that O’Reilly is more an Op-ed columnist than a journalist, interested in other voices only as a means to assert his own. O’Reilly gives two telling, if contradictory, responses at once: “You’re a dinosaur,” he says. And then “You’re the driving force behind my career.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dDSq2fF9flk'\n title='//www.youtube.com/embed/dDSq2fF9flk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With this scene, director Avi Belkin establishes the same tough-but-fair attitude toward Wallace that Wallace himself has used to describe his hard-nosed approach to broadcasting. Getting called a “dinosaur” by a bloviating pundit like Bill O’Reilly is likely a badge of honor for Wallace, who can be said to represent the old-school journalistic integrity that he picked up early in his tenure at CBS, alongside the trusted and avuncular Walter Cronkite. But “You’re the driving force behind my career” connects Wallace with a performative style that’s more about creating riveting television than learning substantive truths. And that’s the ambiguous space in which this mesmerizing film operates.\u003c/p>\n\u003cp>Belkin keeps much of \u003cem>Mike Wallace is Here\u003c/em> inside the television box, building a profile clip by clip and holding Wallace in dialogue with himself. In a one-on-one interview with Wallace, his \u003cem>60 Minutes\u003c/em> colleague Morley Safer offers the most intimate, end-of-the-line questions about his career, but mostly as a prelude for Belkin to do the exploring. Enough footage exists of Wallace in action that no traditional talking-head interviews are necessary, which gives the impression of a life lived entirely in front of the camera, at the expense of everything and everyone else. He worked to move the cultural dialogue forward. He also worked to serve his ego and secure his own legacy.\u003c/p>\n\u003cp>One longstanding mark against Wallace is that he didn’t come from a journalistic background. He just wanted to be on television. Before and between gigs as a serious broadcaster, he’s shown appearing as a pitchman for Parliament cigarettes, Ajax cleaning powder, and Revlon make-up, and that commercial vigor is baked into his persona. His reputation as the ultimate “gotcha” journalist, earned first on groundbreaking shows like \u003cem>Night Beat\u003c/em> and \u003cem>The Mike Wallace Interview\u003c/em>, is tied both to an instinct for good theater and a no-nonsense hunger for the bottom line. He was going to get his answers or make his subjects sweat profusely through their denials and dissembling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wallace’s commercialism made it difficult for him to gain respect in Cronkite’s newsroom in the ’60s, but his fortunes changed dramatically when Don Hewitt, an executive producer, approached him in 1968 with the idea for \u003cem>60 Minutes\u003c/em>, a show inspired by the format of \u003cem>Life \u003c/em>magazine. The show performed dismally at first, but when Watergate broke, it pounced on the secondary and tertiary characters in the investigation, many of them sources Wallace knew from his time covering Richard Nixon’s presidential campaign. As \u003cem>60 Minutes\u003c/em> grew into a perennial ratings giant, so too did Wallace’s prominence as an interrogator who could keep eyes glued to the set.\u003c/p>\n\u003cp>\u003cem>Mike Wallace is Here\u003c/em> runs through the greatest hits of Wallace’s career, like his audacious interview with Ayatollah Khomeini during the hostage crisis and an exposé on General William Westmoreland that brought a $120 million libel suit against CBS. But many of the clips Belkin digs up are mirrors that reflect some insight into Wallace himself, like an exchange with Larry King where they discuss the contrast between their interview styles before getting to some uncomfortable similarities in their personal priorities. King accounts for his multiple divorces by saying he’d respond to an urgent call from CNN before an urgent call from his wife. Wallace repeatedly admits to his failings as a husband and father.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Belkin arrives at a subtle and complicated assessment of Wallace’s legacy that ties back to that first exchange with O’Reilly. The film makes the case that Wallace’s dogged commitment to getting answers is journalism in its purest form, holding powerful public figures to account. It also makes the case that Wallace opened the door for charlatans to swallow up air time and turn themselves into the stars of their own primetime dramas. He may have been the best interviewer on TV, but he never transcended the medium.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13862258/mike-wallace-is-here-a-newsman-who-shined-a-spotlight-and-basked-in-it","authors":["byline_arts_13862258"],"categories":["arts_90","arts_235","arts_75"],"tags":["arts_13672","arts_1753","arts_1118","arts_977","arts_2640","arts_596"],"affiliates":["arts_137"],"featImg":"arts_13862259","label":"arts_137"},"arts_13861583":{"type":"posts","id":"arts_13861583","meta":{"index":"posts_1591205157","site":"arts","id":"13861583","score":null,"sort":[1563389746000]},"guestAuthors":[],"slug":"lots-of-love-and-one-big-lie-the-farewell-reminds-us-time-is-short","title":"Lots Of Love And One Big Lie — 'The Farewell' Reminds Us Time Is Short","publishDate":1563389746,"format":"standard","headTitle":"Lots Of Love And One Big Lie — ‘The Farewell’ Reminds Us Time Is Short | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>The Farewell \u003c/em>opens with five cheeky words: “based on an actual lie.” This funny, melancholy ensemble drama was inspired by an experience that the writer-director Lulu Wang and her family went through years ago, when they were told that Wang’s grandmother was terminally ill. They decided to keep her in the dark about her diagnosis, hoping to spare her unnecessary fear and anxiety — an extreme decision, perhaps, but one that the movie suggests is hardly unheard of among Chinese families.\u003c/p>\n\u003cp>Wang’s on-screen alter ego is Billi, a broke, unemployed New Yorker in her early 30s, played superbly by Awkwafina. Billi moved to the U.S. with her parents when she was 6, but she has fond memories of her early years in the northern Chinese city of Changchun, and she retains a close bond with her paternal grandmother — that’s “Nai Nai” in Chinese.\u003c/p>\n\u003cp>One day she’s visiting her parents, played by Tzi Ma and Diana Lin, and they tell her that Nai Nai has only a few months to live. Billi’s parents go on to explain that the family has decided not to tell Nai Nai her prognosis. Instead, a phony wedding is being thrown for her cousin in China as a hasty excuse for a family reunion.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Farewell | Official Trailer HD | A24\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/RofpAjqwMa8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Billi is urged not to come, as everyone fears that she’ll spill the beans. But she buys a plane ticket anyway, catching her parents and other relatives off-guard. Billi disapproves of the family’s dishonesty, and although she goes along with it, she tries to persuade them to tell Nai Nai the truth. But they dismiss her attitude as typical of her youthful naivete and her self-centered American upbringing. Westerners may grieve with hugs and tears, but in their view, the most profound expressions of love and devotion are the ones that remain unspoken.\u003c/p>\n\u003cp>Wang has a thing for stories about death and deception: She made her feature directing debut with \u003cem>Posthumous\u003c/em>, a 2014 comedy about an artist who fakes his own suicide. In \u003cem>The Farewell\u003c/em>, she mines a lot of humor from the family’s scheme, from the last-minute wedding preparations to the manipulation of Nai Nai’s medical test results. Wang and her actors capture the anxiety of a celebration where no one is really in a celebratory mood, and one false word or move could spell disaster.\u003c/p>\n\u003cp>But \u003cem>The Farewell \u003c/em>doesn’t need a lot of farcical complications to pull us in. Wang knows that it’s fascinating enough to be a fly on the wall at this family gathering. I was reminded of the dim-sum lunches and lavish dinner banquets that took up a good chunk of my Chinese American youth. And yes, I was reminded of my own indomitable grandmother, who, just like Billi’s Nai Nai, knows that the truest way to say “I love you” is to heap food onto your plate, whether you asked for it or not.\u003c/p>\n\u003cp>Billi’s grandmother is played in a pitch-perfect performance by Zhao Shuzhen, who all but glows with stubbornness, exasperation and pride. The bond between grandmother and granddaughter is lovely to behold, and Awkwafina, such a memorable scene stealer in last year’s \u003cem>Crazy Rich Asians\u003c/em>, is a marvel in her first dramatic starring role. Speaking mostly in fluent but slightly faltering Mandarin, she plays Billi as a young woman trapped between two worlds, having never fully recovered from the loneliness of leaving China as a young girl.\u003c/p>\n\u003cp>Billi isn’t the only character wrestling with her cultural identity. The strongest scene is a verbal sparring match involving her parents, aunts and uncles: Some of them cling proudly to their Chinese identity, while others acknowledge the better opportunities they’ve found in America and elsewhere abroad. Wang leaves these arguments unresolved, which is not to say she’s wholly ambivalent. She drops in small, isolated moments of social critique, glimpses of a modern China whose much-touted prosperity has come at an undeniable human cost.\u003c/p>\n\u003cp>As personal as this material must be for Wang, it’s her emotional restraint that paradoxically makes the film so moving. Occasionally she’ll go in for a closeup, but most of the time she likes to frame her characters in group shots, as though asserting the importance of everyone’s point of view. \u003cem>The Farewell \u003c/em>left me thinking about the beautiful imperfection of every family, and the importance of treating our loved ones with decency and humility every chance we get. Our time together is too short, whether we know it or not.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\n\u003cp>[ad fullwidth]\u003c/p>\n\u003c/div>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Awkwafina stars in Lulu Wang's funny ensemble drama about a Chinese American family and their elaborate ruse to pay respects to their matriarch — without ever letting on she has a terminal illness.","status":"publish","parent":0,"modified":1705022530,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":805},"headData":{"title":"Lots Of Love And One Big Lie — 'The Farewell' Reminds Us Time Is Short | KQED","description":"Awkwafina stars in Lulu Wang's funny ensemble drama about a Chinese American family and their elaborate ruse to pay respects to their matriarch — without ever letting on she has a terminal illness.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Lots Of Love And One Big Lie — 'The Farewell' Reminds Us Time Is Short","datePublished":"2019-07-17T18:55:46.000Z","dateModified":"2024-01-12T01:22:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Justin Chang","nprImageAgency":"A24","nprStoryId":"740672550","nprApiLink":"http://api.npr.org/query?id=740672550&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/07/11/740672550/lots-of-love-and-one-big-lie-the-farewell-reminds-us-time-is-short?ft=nprml&f=740672550","nprRetrievedStory":"1","nprPubDate":"Fri, 12 Jul 2019 11:52:00 -0400","nprStoryDate":"Thu, 11 Jul 2019 13:43:56 -0400","nprLastModifiedDate":"Thu, 11 Jul 2019 13:44:18 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2019/07/20190711_fa_02.mp3?orgId=427869011&topicId=4467349&d=447&p=13&story=740672550&ft=nprml&f=740672550","nprAudioM3u":"http://api.npr.org/m3u/1740788431-82377f.m3u?orgId=427869011&topicId=4467349&d=447&p=13&story=740672550&ft=nprml&f=740672550","audioTrackLength":448,"path":"/arts/13861583/lots-of-love-and-one-big-lie-the-farewell-reminds-us-time-is-short","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2019/07/20190711_fa_02.mp3?orgId=427869011&topicId=4467349&d=447&p=13&story=740672550&ft=nprml&f=740672550","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Farewell \u003c/em>opens with five cheeky words: “based on an actual lie.” This funny, melancholy ensemble drama was inspired by an experience that the writer-director Lulu Wang and her family went through years ago, when they were told that Wang’s grandmother was terminally ill. They decided to keep her in the dark about her diagnosis, hoping to spare her unnecessary fear and anxiety — an extreme decision, perhaps, but one that the movie suggests is hardly unheard of among Chinese families.\u003c/p>\n\u003cp>Wang’s on-screen alter ego is Billi, a broke, unemployed New Yorker in her early 30s, played superbly by Awkwafina. Billi moved to the U.S. with her parents when she was 6, but she has fond memories of her early years in the northern Chinese city of Changchun, and she retains a close bond with her paternal grandmother — that’s “Nai Nai” in Chinese.\u003c/p>\n\u003cp>One day she’s visiting her parents, played by Tzi Ma and Diana Lin, and they tell her that Nai Nai has only a few months to live. Billi’s parents go on to explain that the family has decided not to tell Nai Nai her prognosis. Instead, a phony wedding is being thrown for her cousin in China as a hasty excuse for a family reunion.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Farewell | Official Trailer HD | A24\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/RofpAjqwMa8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Billi is urged not to come, as everyone fears that she’ll spill the beans. But she buys a plane ticket anyway, catching her parents and other relatives off-guard. Billi disapproves of the family’s dishonesty, and although she goes along with it, she tries to persuade them to tell Nai Nai the truth. But they dismiss her attitude as typical of her youthful naivete and her self-centered American upbringing. Westerners may grieve with hugs and tears, but in their view, the most profound expressions of love and devotion are the ones that remain unspoken.\u003c/p>\n\u003cp>Wang has a thing for stories about death and deception: She made her feature directing debut with \u003cem>Posthumous\u003c/em>, a 2014 comedy about an artist who fakes his own suicide. In \u003cem>The Farewell\u003c/em>, she mines a lot of humor from the family’s scheme, from the last-minute wedding preparations to the manipulation of Nai Nai’s medical test results. Wang and her actors capture the anxiety of a celebration where no one is really in a celebratory mood, and one false word or move could spell disaster.\u003c/p>\n\u003cp>But \u003cem>The Farewell \u003c/em>doesn’t need a lot of farcical complications to pull us in. Wang knows that it’s fascinating enough to be a fly on the wall at this family gathering. I was reminded of the dim-sum lunches and lavish dinner banquets that took up a good chunk of my Chinese American youth. And yes, I was reminded of my own indomitable grandmother, who, just like Billi’s Nai Nai, knows that the truest way to say “I love you” is to heap food onto your plate, whether you asked for it or not.\u003c/p>\n\u003cp>Billi’s grandmother is played in a pitch-perfect performance by Zhao Shuzhen, who all but glows with stubbornness, exasperation and pride. The bond between grandmother and granddaughter is lovely to behold, and Awkwafina, such a memorable scene stealer in last year’s \u003cem>Crazy Rich Asians\u003c/em>, is a marvel in her first dramatic starring role. Speaking mostly in fluent but slightly faltering Mandarin, she plays Billi as a young woman trapped between two worlds, having never fully recovered from the loneliness of leaving China as a young girl.\u003c/p>\n\u003cp>Billi isn’t the only character wrestling with her cultural identity. The strongest scene is a verbal sparring match involving her parents, aunts and uncles: Some of them cling proudly to their Chinese identity, while others acknowledge the better opportunities they’ve found in America and elsewhere abroad. Wang leaves these arguments unresolved, which is not to say she’s wholly ambivalent. She drops in small, isolated moments of social critique, glimpses of a modern China whose much-touted prosperity has come at an undeniable human cost.\u003c/p>\n\u003cp>As personal as this material must be for Wang, it’s her emotional restraint that paradoxically makes the film so moving. Occasionally she’ll go in for a closeup, but most of the time she likes to frame her characters in group shots, as though asserting the importance of everyone’s point of view. \u003cem>The Farewell \u003c/em>left me thinking about the beautiful imperfection of every family, and the importance of treating our loved ones with decency and humility every chance we get. Our time together is too short, whether we know it or not.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13861583/lots-of-love-and-one-big-lie-the-farewell-reminds-us-time-is-short","authors":["byline_arts_13861583"],"categories":["arts_835","arts_74","arts_90","arts_75"],"tags":["arts_549","arts_596"],"featImg":"arts_13861584","label":"arts"},"arts_13860799":{"type":"posts","id":"arts_13860799","meta":{"index":"posts_1591205157","site":"arts","id":"13860799","score":null,"sort":[1562348100000]},"guestAuthors":[],"slug":"in-documentary-marianne-leonard-words-of-love-free-love-comes-at-a-cost","title":"In Documentary 'Marianne & Leonard: Words Of Love,' Free Love Comes At A Cost","publishDate":1562348100,"format":"standard","headTitle":"In Documentary ‘Marianne & Leonard: Words Of Love,’ Free Love Comes At A Cost | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>\u003cem>Marianne & Leonard: Words of Love\u003c/em>, a warmly absorbing new documentary by British filmmaker Nick Broomfield, opens with an image of a beautiful young Norwegian woman steering a sailboat off the sun-soaked Greek island of Hydra. The footage, which was shot by famed documentarian and Broomfield mentor D.A. Pennebaker on a visit to the island in the 1960s, recurs from slightly different angles throughout the film. But Marianne Ihlen — an early lover of Leonard Cohen and the subject of several of his most famous songs including “So Long Marianne” — doesn’t steer this moving, sympathetic, but ultimately frustrating tribute. Perhaps inevitably, Cohen does, via Broomfield’s fascination with the singer’s tortured relations with the many women he romanced.\u003c/p>\n\u003cp>Ihlen and Cohen met in 1960 on Hydra, which at that time was forming as a hub of literary hippies with full subscriptions to the sexual revolution. The two had in common uncommon physical beauty and a sense of themselves as refugees, she from an abusive partner, he from the Orthodox Jewish family that both confined and inspired him. They became lovers, and Ihlen sustained Cohen through the writing of his early novel \u003cem>Beautiful Losers\u003c/em>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"MARIANNE & LEONARD WORDS OF LOVE | Official Trailer | Roadside Attractions\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/LB6nIzPf9r8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Juggling a deftly edited mix of footage, the voices of Cohen and Ihlen, and well-chosen testimony from friends of both, Broomfield covers the often excruciating bouts of parting and reconnecting that marked their relationship. Theirs was a love match, everyone agrees, but a brief one with a long tail of grief for Marianne, who repeatedly put her own life (and, tragically, that of her son Axel) on hold to be there for Cohen. Once he found his voice and his fortune as a singer, Marianne gradually got left behind, though he supported her financially, and their liaison sputtered on between Greece, Norway, Montreal and New York as Cohen got fully on board for free love.\u003c/p>\n\u003cp>With his trademark blithe disregard for the boundaries between narrative and non-fiction, Broomfield has cheerfully inserted himself into a bunch of impish but keenly observed and compassionate portraits of, respectively, Hollywood madam Heidi Fleiss, rocker Courtney Love, serial killer Aileen Wuornos and Sarah Palin. Depending on how you feel about his resolutely non-ideological approach, \u003cem>Marianne & Leonard\u003c/em> is either the best thing he’s done or uncharacteristically circumspect, almost self-effacing. I say almost because Broomfield casually admits up front that he was, briefly, Marianne’s lover on Hydra, and the two remained friends until her death from leukemia in 2016.\u003c/p>\n\u003cp>The film is his least transgressive, but also most mature portrait of a woman who, by her own admission, suffered from crippling insecurities exacerbated by the claims to artistry of those she hung out with. Counterculture enclaves were rife with such women, and though Cohen waxes ecstatic onscreen about the movement’s gender parity, Broomfield (a bit of an Apollo in his youth too) gives the hippie moment its due while remaining admirably clear-eyed about the emotional wreckage and broken families that the sexual revolution left in its wake.\u003c/p>\n\u003cp>\u003cem>Marianne & Leonard\u003c/em> founders, though, in sticking Ihlen within the vexing label of muse, which in its mostly male iteration functions as code for a passive beauty who makes the meals and clears the terrain, makes no demands and sits — in Marianne’s case, quite literally — at the feet of genius. (She’d have needed heroic reserves of forbearance to cope with choice cuts of early Cohen-speak like this one: “When I got up in the morning I had to decide whether I was in a state of grace.”) Genius, in return, is full of worship until the muse wears out her welcome. We see Marianne only through the attenuating fog of her beauty and her equable nature, where she languishes as a placeholder for all the women Cohen loved (or at least obsessed over) and left.\u003c/p>\n\u003cp>Late in life Cohen is heard regretting his own heedlessness. It’s not that Broomfield has cooked the books of Marianne’s history with Cohen. Indeed to the degree that he ever takes sides he’s with her and, probably correctly, identifies her as a somewhat tragic casualty. But though his focus keeps veering away to Cohen, he allows another woman, the vivacious and psychologically astute Aviva Layton (who was married to Cohen’s friend and fellow writer Irving Layton and knows the price of taking up with a congenital escape artist) to provide crucial insight into Marianne’s plight, as well as the reasons why she was so widely beloved of men and women alike. Layton is perceptive, too, about Cohen’s symbiotic bond with his intense mother, from whom he inherited a lifelong struggle with depression, and about her influence on his inability to sustain relationships with women.\u003c/p>\n\u003cp>As she lay dying in a hospital, Ihlen asked a friend to contact Cohen. Close to death himself, he wrote her a widely publicized letter of farewell, only this time minus the grandiloquence. “So Long, Marianne” is a beautiful melody, but willy-nilly, Broomfield’s sensitive tribute to its subject — and object — makes crystal-clear why it was never her favorite of his songs.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"This \"moving, sympathetic but ultimately frustrating tribute\" to Marianne Ihlen inadvertently reveals the male gaze's narrow focus by defining this complicated woman as Cohen's passive muse.","status":"publish","parent":0,"modified":1705022578,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":889},"headData":{"title":"In Documentary 'Marianne & Leonard: Words Of Love,' Free Love Comes At A Cost | KQED","description":"This "moving, sympathetic but ultimately frustrating tribute" to Marianne Ihlen inadvertently reveals the male gaze's narrow focus by defining this complicated woman as Cohen's passive muse.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"In Documentary 'Marianne & Leonard: Words Of Love,' Free Love Comes At A Cost","datePublished":"2019-07-05T17:35:00.000Z","dateModified":"2024-01-12T01:22:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Aviva Layton","nprByline":"Ella Taylor","nprImageAgency":"Roadside Attractions","nprStoryId":"737111020","nprApiLink":"http://api.npr.org/query?id=737111020&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/07/05/737111020/in-documentary-marianne-leonard-words-of-love-free-love-comes-at-a-cost?ft=nprml&f=737111020","nprRetrievedStory":"1","nprPubDate":"Fri, 05 Jul 2019 10:48:00 -0400","nprStoryDate":"Fri, 05 Jul 2019 05:00:55 -0400","nprLastModifiedDate":"Fri, 05 Jul 2019 10:48:00 -0400","path":"/arts/13860799/in-documentary-marianne-leonard-words-of-love-free-love-comes-at-a-cost","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Marianne & Leonard: Words of Love\u003c/em>, a warmly absorbing new documentary by British filmmaker Nick Broomfield, opens with an image of a beautiful young Norwegian woman steering a sailboat off the sun-soaked Greek island of Hydra. The footage, which was shot by famed documentarian and Broomfield mentor D.A. Pennebaker on a visit to the island in the 1960s, recurs from slightly different angles throughout the film. But Marianne Ihlen — an early lover of Leonard Cohen and the subject of several of his most famous songs including “So Long Marianne” — doesn’t steer this moving, sympathetic, but ultimately frustrating tribute. Perhaps inevitably, Cohen does, via Broomfield’s fascination with the singer’s tortured relations with the many women he romanced.\u003c/p>\n\u003cp>Ihlen and Cohen met in 1960 on Hydra, which at that time was forming as a hub of literary hippies with full subscriptions to the sexual revolution. The two had in common uncommon physical beauty and a sense of themselves as refugees, she from an abusive partner, he from the Orthodox Jewish family that both confined and inspired him. They became lovers, and Ihlen sustained Cohen through the writing of his early novel \u003cem>Beautiful Losers\u003c/em>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"MARIANNE & LEONARD WORDS OF LOVE | Official Trailer | Roadside Attractions\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/LB6nIzPf9r8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Juggling a deftly edited mix of footage, the voices of Cohen and Ihlen, and well-chosen testimony from friends of both, Broomfield covers the often excruciating bouts of parting and reconnecting that marked their relationship. Theirs was a love match, everyone agrees, but a brief one with a long tail of grief for Marianne, who repeatedly put her own life (and, tragically, that of her son Axel) on hold to be there for Cohen. Once he found his voice and his fortune as a singer, Marianne gradually got left behind, though he supported her financially, and their liaison sputtered on between Greece, Norway, Montreal and New York as Cohen got fully on board for free love.\u003c/p>\n\u003cp>With his trademark blithe disregard for the boundaries between narrative and non-fiction, Broomfield has cheerfully inserted himself into a bunch of impish but keenly observed and compassionate portraits of, respectively, Hollywood madam Heidi Fleiss, rocker Courtney Love, serial killer Aileen Wuornos and Sarah Palin. Depending on how you feel about his resolutely non-ideological approach, \u003cem>Marianne & Leonard\u003c/em> is either the best thing he’s done or uncharacteristically circumspect, almost self-effacing. I say almost because Broomfield casually admits up front that he was, briefly, Marianne’s lover on Hydra, and the two remained friends until her death from leukemia in 2016.\u003c/p>\n\u003cp>The film is his least transgressive, but also most mature portrait of a woman who, by her own admission, suffered from crippling insecurities exacerbated by the claims to artistry of those she hung out with. Counterculture enclaves were rife with such women, and though Cohen waxes ecstatic onscreen about the movement’s gender parity, Broomfield (a bit of an Apollo in his youth too) gives the hippie moment its due while remaining admirably clear-eyed about the emotional wreckage and broken families that the sexual revolution left in its wake.\u003c/p>\n\u003cp>\u003cem>Marianne & Leonard\u003c/em> founders, though, in sticking Ihlen within the vexing label of muse, which in its mostly male iteration functions as code for a passive beauty who makes the meals and clears the terrain, makes no demands and sits — in Marianne’s case, quite literally — at the feet of genius. (She’d have needed heroic reserves of forbearance to cope with choice cuts of early Cohen-speak like this one: “When I got up in the morning I had to decide whether I was in a state of grace.”) Genius, in return, is full of worship until the muse wears out her welcome. We see Marianne only through the attenuating fog of her beauty and her equable nature, where she languishes as a placeholder for all the women Cohen loved (or at least obsessed over) and left.\u003c/p>\n\u003cp>Late in life Cohen is heard regretting his own heedlessness. It’s not that Broomfield has cooked the books of Marianne’s history with Cohen. Indeed to the degree that he ever takes sides he’s with her and, probably correctly, identifies her as a somewhat tragic casualty. But though his focus keeps veering away to Cohen, he allows another woman, the vivacious and psychologically astute Aviva Layton (who was married to Cohen’s friend and fellow writer Irving Layton and knows the price of taking up with a congenital escape artist) to provide crucial insight into Marianne’s plight, as well as the reasons why she was so widely beloved of men and women alike. Layton is perceptive, too, about Cohen’s symbiotic bond with his intense mother, from whom he inherited a lifelong struggle with depression, and about her influence on his inability to sustain relationships with women.\u003c/p>\n\u003cp>As she lay dying in a hospital, Ihlen asked a friend to contact Cohen. Close to death himself, he wrote her a widely publicized letter of farewell, only this time minus the grandiloquence. “So Long, Marianne” is a beautiful melody, but willy-nilly, Broomfield’s sensitive tribute to its subject — and object — makes crystal-clear why it was never her favorite of his songs.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13860799/in-documentary-marianne-leonard-words-of-love-free-love-comes-at-a-cost","authors":["byline_arts_13860799"],"categories":["arts_74","arts_90"],"tags":["arts_13672","arts_1118","arts_977","arts_596","arts_769"],"affiliates":["arts_137"],"featImg":"arts_13860800","label":"arts_137"},"arts_13858630":{"type":"posts","id":"arts_13858630","meta":{"index":"posts_1591205157","site":"arts","id":"13858630","score":null,"sort":[1559322459000]},"guestAuthors":[],"slug":"love-finds-ali-wong-and-randall-park-in-always-be-my-maybe","title":"Love Finds Ali Wong And Randall Park In 'Always Be My Maybe'","publishDate":1559322459,"format":"standard","headTitle":"Love Finds Ali Wong And Randall Park In ‘Always Be My Maybe’ | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>With San Francisco as its backdrop, Ali Wong and Randall Park’s latest project is so much more than a romantic comedy.\u003c/p>\n\u003cp>\u003cem>Always Be My Maybe \u003c/em>is an enormously refreshing rom-com in a couple of ways that people who have covered its release have talked about a lot. Specifically, it’s an American rom-com (released on Netflix) that features two Asian American characters from a Korean American and Vietnamese American families who have sex, fall in love, break up, date other people and then find each other again. It stars Randall Park, who \u003ca href=\"https://www.npr.org/2015/10/14/448278570/actor-randall-park-says-fresh-off-the-boat-is-comedy-without-the-clich\">has spent the last several years\u003c/a> on ABC’s \u003cem>Fresh Off the Boat \u003c/em>but has had a long and varied career in comedy, and Ali Wong, \u003ca href=\"https://www.npr.org/2016/08/02/484163577/marriage-and-motherhood-are-a-source-of-power-says-comic-ali-wong\">whose career boomed after\u003c/a> the release of her comedy specials \u003cem>Baby Cobra \u003c/em>and then \u003cem>Hard Knock Wife\u003c/em>. Park and Wong have known each other a long time, and they have eager fan excitement to thank (at least in part) for the fact that they decided to actually go ahead with the project.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Always Be My Maybe | Trailer | Netflix\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/iHBcWHY9lN4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As romantic comedies have contracted after their post-’90s boom, those featuring leads of color have been, regrettably but predictably, hit especially hard. And while \u003cem>Crazy Rich Asians \u003c/em>in 2018 \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/14/637168347/opinion-dont-sweat-the-repsweats-and-let-crazy-rich-asians-be-what-it-is\">brought welcome representation\u003c/a> for Asian American actors in both romance and comedy, it was not really quite a romantic comedy in the traditional sense.\u003c/p>\n\u003cp>This is one. Straight-up, down-the-middle, glorious romantic comedy for people who really and truly love and miss that kind of movie — and the fact that both leads are Asian American isn’t the only way in which it’s fresh-faced. It’s also noteworthy that Park is 45 and Wong is 37, making them significantly older than rom-com leads often are. (When Billy Crystal and Meg Ryan appeared in \u003cem>When Harry Met Sally…,\u003c/em> also a long-relationship film and the one Wong and Park have often cited as inspiration, Crystal was just over 40 and Ryan was in her late 20s.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The two play Marcus and Sasha, who become best pals as kids in San Francisco’s Richmond district. They share one awkward sexual experience and then go their separate ways. Years later, when he’s still working with his father and she’s a celebrity chef, they meet up again. But he has a new and unusual girlfriend (a very funny Vivian Bang), and she’s dating a fancypants rich guy played by the always welcome Daniel Dae Kim.\u003c/p>\n\u003cp>I love what Wong is doing here with the idea of the very driven and successful romantic comedy heroine. Sasha is unapologetic about being ambitious, with the only conflict about her work coming from what feel like very fresh conversations with Marcus about whom she’s trying to please with “elevated Asian cuisine.” While discussing the menu with a consultant, she opts for rice paper because “white people eat it up.” There’s no sense that she needs to give up her job, and it’s clear that she’s probably going to remain famous while he remains not famous, no matter what else happens. Marcus is in a band, but while it would be easy to wrap this up by making his band a big hit, it would … not be particularly believable. (His band is called Hello Peril, which is just \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/09/27/647989652/if-we-called-ourselves-yellow\">a great, great joke\u003c/a>.) For those who grew up in the Bay Area, the bonus nod to DJ star Lyrics Born and a nearly-miss-it cameo with DJ Q-bert add to that San Francisco pride.\u003c/p>\n\u003cp>[aside postID='arts_13812554' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2017/10/ARTS_FILIPINODJS_1.jpg' target='_blank']\u003c/p>\n\u003cp>Sasha’s best friend, Veronica (Michelle Buteau, because the great comedy people just keep on coming), is super-pregnant for most of the film (perhaps significantly, the same way Wong was when she shot both her comedy specials), and she’s spared just about every bad best-friend cliché. In fact, Veronica’s pregnancy almost operates like a subtle assurance that although she loves her friend, this love story is not the most important thing going on in her life at the moment.\u003c/p>\n\u003cp>Park, too, is just marvelously appealing, supportive and still sometimes kind of foolish in the way you have to be for a rom-com not to end until it’s time for it to end. His dad is played by the marvelous James Saito, and the two of them have an easy and funny chemistry. Both Marcus’ and Sasha’s parents certainly have some culturally specific touchstones, but it’s embarrassing how unusual it is to see Asian American characters with parents firmly outside any super-driven or super-silly stereotypes. (This was also a marvelous aspect of \u003ca href=\"https://www.npr.org/2019/03/13/703140118/cringing-through-hulus-pen15-in-a-good-way\">Hulu’s coming-of-age series\u003c/a> \u003cem>PEN15\u003c/em> and its portrayal of Maya’s mom.)\u003c/p>\n\u003cp>We have to talk about Keanu Reeves, though, because Keanu Reeves is in the marketing.\u003c/p>\n\u003cp>One of the tricks with a film like this is that the middle often drags. After you get through the first part, in which you meet the characters and set up their lives and their love story (SPOILER ALERT), and before you get to the end, as they begin to approach a happy ending (SPOILER ALERT!!), there’s a section in the middle where it can feel like you’re just … waiting. You’re waiting for the people to figure out that they love each other or that their current partners are wrong for them. You’re waiting for obstacles to clear. And that section often needs something. The people who made \u003cem>Always Be My Maybe\u003c/em> very wisely concluded that what it needed was Keanu Reeves.\u003c/p>\n\u003cp>Without saying too much about his role, let’s say that Reeves here is riffing on what you might call the Keanu Reeves Cultural Ideal — this notion that he’s a fighter and a poet and a paragon of decency who probably meditates in the shower. And of all the times I’ve seen an actor goof around with his own image, this just might be my very favorite — even above the Neil Patrick Harris appearance in \u003cem>Harold & Kumar Go to White Castle\u003c/em>. Reeves is a tremendously good sport and a fabulous comic actor, and every tiny decision he makes in these scenes is exactly right. It would be unfair to say he steals the film, because he doesn’t. But what you can say is that his appearance helps enormously in kicking the middle of the film in the pants to keep it from sagging.\u003c/p>\n\u003cp>It’s a film that delivers on all its promises, gives a lot of funny people a chance to shine and — yes indeed — provides some much-needed representation to a lot of potential love-story leads who don’t see themselves in Hollywood nearly often enough.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And let me add: If you don’t stick around at least through the part of the credits with … the surprise audio, you may be sad later. Because later, someone will show you what you missed, and you will say, “I should have listened to that NPR critic.” Stay at least through the childhood photos. They’re pretty fun anyway.\u003c/p>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Love+Finds+Ali+Wong+And+Randall+Park+In+%27Always+Be+My+Maybe%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"Randall Park and Ali Wong star in a Netflix romantic comedy about two young friends who grow up and grow apart, only to find each other again as adults. Also, there's Keanu Reeves.","status":"publish","parent":0,"modified":1705026113,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1260},"headData":{"title":"Love Finds Ali Wong And Randall Park In 'Always Be My Maybe' | KQED","description":"Randall Park and Ali Wong star in a Netflix romantic comedy about two young friends who grow up and grow apart, only to find each other again as adults. Also, there's Keanu Reeves.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Love Finds Ali Wong And Randall Park In 'Always Be My Maybe'","datePublished":"2019-05-31T17:07:39.000Z","dateModified":"2024-01-12T02:21:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Ed Araquel","nprByline":"Linda Holmes","nprImageAgency":"Netflix","nprStoryId":"728311649","nprApiLink":"http://api.npr.org/query?id=728311649&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/05/31/728311649/love-finds-ali-wong-and-randall-park-in-always-be-my-maybe?ft=nprml&f=728311649","nprRetrievedStory":"1","nprPubDate":"Fri, 31 May 2019 09:46:00 -0400","nprStoryDate":"Fri, 31 May 2019 05:00:48 -0400","nprLastModifiedDate":"Fri, 31 May 2019 09:46:56 -0400","path":"/arts/13858630/love-finds-ali-wong-and-randall-park-in-always-be-my-maybe","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>With San Francisco as its backdrop, Ali Wong and Randall Park’s latest project is so much more than a romantic comedy.\u003c/p>\n\u003cp>\u003cem>Always Be My Maybe \u003c/em>is an enormously refreshing rom-com in a couple of ways that people who have covered its release have talked about a lot. Specifically, it’s an American rom-com (released on Netflix) that features two Asian American characters from a Korean American and Vietnamese American families who have sex, fall in love, break up, date other people and then find each other again. It stars Randall Park, who \u003ca href=\"https://www.npr.org/2015/10/14/448278570/actor-randall-park-says-fresh-off-the-boat-is-comedy-without-the-clich\">has spent the last several years\u003c/a> on ABC’s \u003cem>Fresh Off the Boat \u003c/em>but has had a long and varied career in comedy, and Ali Wong, \u003ca href=\"https://www.npr.org/2016/08/02/484163577/marriage-and-motherhood-are-a-source-of-power-says-comic-ali-wong\">whose career boomed after\u003c/a> the release of her comedy specials \u003cem>Baby Cobra \u003c/em>and then \u003cem>Hard Knock Wife\u003c/em>. Park and Wong have known each other a long time, and they have eager fan excitement to thank (at least in part) for the fact that they decided to actually go ahead with the project.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Always Be My Maybe | Trailer | Netflix\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/iHBcWHY9lN4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As romantic comedies have contracted after their post-’90s boom, those featuring leads of color have been, regrettably but predictably, hit especially hard. And while \u003cem>Crazy Rich Asians \u003c/em>in 2018 \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/14/637168347/opinion-dont-sweat-the-repsweats-and-let-crazy-rich-asians-be-what-it-is\">brought welcome representation\u003c/a> for Asian American actors in both romance and comedy, it was not really quite a romantic comedy in the traditional sense.\u003c/p>\n\u003cp>This is one. Straight-up, down-the-middle, glorious romantic comedy for people who really and truly love and miss that kind of movie — and the fact that both leads are Asian American isn’t the only way in which it’s fresh-faced. It’s also noteworthy that Park is 45 and Wong is 37, making them significantly older than rom-com leads often are. (When Billy Crystal and Meg Ryan appeared in \u003cem>When Harry Met Sally…,\u003c/em> also a long-relationship film and the one Wong and Park have often cited as inspiration, Crystal was just over 40 and Ryan was in her late 20s.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The two play Marcus and Sasha, who become best pals as kids in San Francisco’s Richmond district. They share one awkward sexual experience and then go their separate ways. Years later, when he’s still working with his father and she’s a celebrity chef, they meet up again. But he has a new and unusual girlfriend (a very funny Vivian Bang), and she’s dating a fancypants rich guy played by the always welcome Daniel Dae Kim.\u003c/p>\n\u003cp>I love what Wong is doing here with the idea of the very driven and successful romantic comedy heroine. Sasha is unapologetic about being ambitious, with the only conflict about her work coming from what feel like very fresh conversations with Marcus about whom she’s trying to please with “elevated Asian cuisine.” While discussing the menu with a consultant, she opts for rice paper because “white people eat it up.” There’s no sense that she needs to give up her job, and it’s clear that she’s probably going to remain famous while he remains not famous, no matter what else happens. Marcus is in a band, but while it would be easy to wrap this up by making his band a big hit, it would … not be particularly believable. (His band is called Hello Peril, which is just \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/09/27/647989652/if-we-called-ourselves-yellow\">a great, great joke\u003c/a>.) For those who grew up in the Bay Area, the bonus nod to DJ star Lyrics Born and a nearly-miss-it cameo with DJ Q-bert add to that San Francisco pride.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13812554","hero":"https://ww2.kqed.org/wp-content/uploads/sites/2/2017/10/ARTS_FILIPINODJS_1.jpg","target":"_blank","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sasha’s best friend, Veronica (Michelle Buteau, because the great comedy people just keep on coming), is super-pregnant for most of the film (perhaps significantly, the same way Wong was when she shot both her comedy specials), and she’s spared just about every bad best-friend cliché. In fact, Veronica’s pregnancy almost operates like a subtle assurance that although she loves her friend, this love story is not the most important thing going on in her life at the moment.\u003c/p>\n\u003cp>Park, too, is just marvelously appealing, supportive and still sometimes kind of foolish in the way you have to be for a rom-com not to end until it’s time for it to end. His dad is played by the marvelous James Saito, and the two of them have an easy and funny chemistry. Both Marcus’ and Sasha’s parents certainly have some culturally specific touchstones, but it’s embarrassing how unusual it is to see Asian American characters with parents firmly outside any super-driven or super-silly stereotypes. (This was also a marvelous aspect of \u003ca href=\"https://www.npr.org/2019/03/13/703140118/cringing-through-hulus-pen15-in-a-good-way\">Hulu’s coming-of-age series\u003c/a> \u003cem>PEN15\u003c/em> and its portrayal of Maya’s mom.)\u003c/p>\n\u003cp>We have to talk about Keanu Reeves, though, because Keanu Reeves is in the marketing.\u003c/p>\n\u003cp>One of the tricks with a film like this is that the middle often drags. After you get through the first part, in which you meet the characters and set up their lives and their love story (SPOILER ALERT), and before you get to the end, as they begin to approach a happy ending (SPOILER ALERT!!), there’s a section in the middle where it can feel like you’re just … waiting. You’re waiting for the people to figure out that they love each other or that their current partners are wrong for them. You’re waiting for obstacles to clear. And that section often needs something. The people who made \u003cem>Always Be My Maybe\u003c/em> very wisely concluded that what it needed was Keanu Reeves.\u003c/p>\n\u003cp>Without saying too much about his role, let’s say that Reeves here is riffing on what you might call the Keanu Reeves Cultural Ideal — this notion that he’s a fighter and a poet and a paragon of decency who probably meditates in the shower. And of all the times I’ve seen an actor goof around with his own image, this just might be my very favorite — even above the Neil Patrick Harris appearance in \u003cem>Harold & Kumar Go to White Castle\u003c/em>. Reeves is a tremendously good sport and a fabulous comic actor, and every tiny decision he makes in these scenes is exactly right. It would be unfair to say he steals the film, because he doesn’t. But what you can say is that his appearance helps enormously in kicking the middle of the film in the pants to keep it from sagging.\u003c/p>\n\u003cp>It’s a film that delivers on all its promises, gives a lot of funny people a chance to shine and — yes indeed — provides some much-needed representation to a lot of potential love-story leads who don’t see themselves in Hollywood nearly often enough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And let me add: If you don’t stick around at least through the part of the credits with … the surprise audio, you may be sad later. Because later, someone will show you what you missed, and you will say, “I should have listened to that NPR critic.” Stay at least through the childhood photos. They’re pretty fun anyway.\u003c/p>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Love+Finds+Ali+Wong+And+Randall+Park+In+%27Always+Be+My+Maybe%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13858630/love-finds-ali-wong-and-randall-park-in-always-be-my-maybe","authors":["byline_arts_13858630"],"categories":["arts_968","arts_90","arts_235","arts_75"],"tags":["arts_549","arts_1118","arts_977","arts_3324","arts_596","arts_1146"],"affiliates":["arts_137"],"featImg":"arts_13858632","label":"arts_137"},"arts_13858541":{"type":"posts","id":"arts_13858541","meta":{"index":"posts_1591205157","site":"arts","id":"13858541","score":null,"sort":[1559307628000]},"guestAuthors":[],"slug":"elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular","title":"Elton John Biopic 'Rocketman' Is A Surprising Song-And-Dance Spectacular","publishDate":1559307628,"format":"standard","headTitle":"Elton John Biopic ‘Rocketman’ Is A Surprising Song-And-Dance Spectacular | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>The first time we see Elton John in \u003cem>Rocketman\u003c/em>, he’s wearing a spangly red devil costume with sharp horns and enormous wings. It’s one of the many glorious, glittery things we see him wear in the movie, although on this occasion, he isn’t dressed for a concert. It’s around 1990, and Elton, played by Taron Egerton, is attending a group therapy session. He may be one of the world’s most successful rock stars, but he’s also being eaten alive by sex addiction and substance abuse, and also by feelings of abandonment that go back to his childhood.\u003c/p>\n\u003cp>No one who’s seen a movie about a popular musician will be surprised by any of this, or by the way \u003cem>Rocketman\u003c/em> unfolds its story as a series of extended flashbacks. But even within that familiar framework, the movie finds surprising ways to buck convention. The colors are bright and kaleidoscopic, but the tone is beautifully modulated: The operatic excesses are balanced by a powerful sense of melancholy. The group-therapy framing device works especially well: The sight of Elton in all that defiant plumage is ludicrous, marvelous and strangely poignant — all words you might apply to the movie itself.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rocketman (2019) - Official Trailer - Paramount Pictures\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/S3vO8E2e6G0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As directed by Dexter Fletcher from a script by Lee Hall, \u003cem>Rocketman\u003c/em> isn’t just a musician’s biopic; it’s a biographical musical. Conceived as a surreal song-and-dance spectacular, it’s a delirious blur of truth and artifice, convention and daring. John’s greatest hits — from “Your Song” and “Tiny Dancer” to “Goodbye Yellow Brick Road” and “I’m Still Standing” — are treated not just as career milestones but as full-blown numbers. The first one is “The Bitch Is Back,” repurposed here as an anthem of boyhood defiance for Elton, born Reginald Dwight, as he grows up in 1950s London with his unhappily married parents. Bryce Dallas Howard plays his mother with a series of exhausted eye-rolls, even when Reggie begins to show signs of prodigious musical talent.\u003c/p>\n\u003cp>Reggie grows up in a flash, rebrands himself as Elton John and meets his lifelong collaborator, the lyricist Bernie Taupin, wonderfully played by Jamie Bell. The movie’s most stirring scene finds Elton improvising at the piano, and the immortal melody to “Your Song” comes pouring out of his fingertips. It’s his song of unrequited love for Bernie, who will stand by him through thick and thin, even after Elton falls into a toxic relationship with a manipulative manager, John Reid, played by Richard Madden of \u003cem>Game of Thrones\u003c/em> fame.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It may be a little reductive to use John’s music as a form of narrative shorthand, but it also works like gangbusters: We’re reminded of just how soulful and emotionally malleable that music is. In one of the more blatant but inspired artistic liberties, Elton makes his stateside debut at the Troubadour in Los Angeles with a gravity-defying performance of “Crocodile Rock” — never mind that it’s 1970, two years before he and Taupin would write that song in real life.\u003c/p>\n\u003cp>Egerton does his own singing as John, and though he’s not a perfect physical match for the character, it hardly matters. Rather than going for showy mimicry, the 29-year-old actor underplays, locating subtle depths of feeling in a figure known for his flamboyance. He retains a firm grip on the character even when John begins his downward spiral, climaxing with his 1975 suicide attempt when he overdoses on Valium and plunges into his swimming pool. It’s here that director Fletcher unleashes the song “Rocket Man” itself, staged as a gorgeously lyrical underwater fantasy.\u003c/p>\n\u003cp>[aside postID='arts_13858037' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>Moments like that give the movie a coherence and fluidity that eluded the much more slapdash \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>\u003c/a>\u003cem>, \u003c/em>which Fletcher completed after its director, Bryan Singer, was fired mid-production. It’s hard not to compare the two: Like \u003cem>Rhapsody\u003c/em>, \u003cem>Rocketman\u003c/em> is a portrait of an LGBT glam-rock icon who repressed his sexuality but ultimately couldn’t keep it out of the spotlight. This movie, to its credit, takes a much more intimate and empathetic view of its subject’s romantic life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s not to say that \u003cem>Rocketman\u003c/em> doesn’t have its overly processed, sanitized moments. You may nod your head somewhat dutifully as the story tumbles through its rise-and-fall-and-rise-again trajectory. But as John’s music itself reminds us, even the most familiar tune can take on new resonance. In the movie’s most aching moments, Elton seems to be singing not to others but to himself, as if to suggest that even the most universal pleasures often have intensely personal roots. Before it was your song, it was his.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Elton+John+Biopic+%27Rocketman%27+Is+A+Surprising+Song-And-Dance+Spectacular&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"'Rocketman' finds ways to buck convention even in the familiar framework of the rock biopic. The operatic excesses are balanced by a powerful sense of melancholy in this marvelous biographical musical.","status":"publish","parent":0,"modified":1705026116,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":865},"headData":{"title":"Elton John Biopic 'Rocketman' Is A Surprising Song-And-Dance Spectacular | KQED","description":"'Rocketman' finds ways to buck convention even in the familiar framework of the rock biopic. The operatic excesses are balanced by a powerful sense of melancholy in this marvelous biographical musical.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Elton John Biopic 'Rocketman' Is A Surprising Song-And-Dance Spectacular","datePublished":"2019-05-31T13:00:28.000Z","dateModified":"2024-01-12T02:21:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"David Appleby","nprByline":"Justin Chang","nprImageAgency":"Courtesy of Paramount Pictures","nprStoryId":"728226594","nprApiLink":"http://api.npr.org/query?id=728226594&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/05/31/728226594/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular?ft=nprml&f=728226594","nprRetrievedStory":"1","nprPubDate":"Thu, 30 May 2019 11:52:00 -0400","nprStoryDate":"Thu, 30 May 2019 11:52:46 -0400","nprLastModifiedDate":"Thu, 30 May 2019 11:52:46 -0400","path":"/arts/13858541/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time we see Elton John in \u003cem>Rocketman\u003c/em>, he’s wearing a spangly red devil costume with sharp horns and enormous wings. It’s one of the many glorious, glittery things we see him wear in the movie, although on this occasion, he isn’t dressed for a concert. It’s around 1990, and Elton, played by Taron Egerton, is attending a group therapy session. He may be one of the world’s most successful rock stars, but he’s also being eaten alive by sex addiction and substance abuse, and also by feelings of abandonment that go back to his childhood.\u003c/p>\n\u003cp>No one who’s seen a movie about a popular musician will be surprised by any of this, or by the way \u003cem>Rocketman\u003c/em> unfolds its story as a series of extended flashbacks. But even within that familiar framework, the movie finds surprising ways to buck convention. The colors are bright and kaleidoscopic, but the tone is beautifully modulated: The operatic excesses are balanced by a powerful sense of melancholy. The group-therapy framing device works especially well: The sight of Elton in all that defiant plumage is ludicrous, marvelous and strangely poignant — all words you might apply to the movie itself.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rocketman (2019) - Official Trailer - Paramount Pictures\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/S3vO8E2e6G0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As directed by Dexter Fletcher from a script by Lee Hall, \u003cem>Rocketman\u003c/em> isn’t just a musician’s biopic; it’s a biographical musical. Conceived as a surreal song-and-dance spectacular, it’s a delirious blur of truth and artifice, convention and daring. John’s greatest hits — from “Your Song” and “Tiny Dancer” to “Goodbye Yellow Brick Road” and “I’m Still Standing” — are treated not just as career milestones but as full-blown numbers. The first one is “The Bitch Is Back,” repurposed here as an anthem of boyhood defiance for Elton, born Reginald Dwight, as he grows up in 1950s London with his unhappily married parents. Bryce Dallas Howard plays his mother with a series of exhausted eye-rolls, even when Reggie begins to show signs of prodigious musical talent.\u003c/p>\n\u003cp>Reggie grows up in a flash, rebrands himself as Elton John and meets his lifelong collaborator, the lyricist Bernie Taupin, wonderfully played by Jamie Bell. The movie’s most stirring scene finds Elton improvising at the piano, and the immortal melody to “Your Song” comes pouring out of his fingertips. It’s his song of unrequited love for Bernie, who will stand by him through thick and thin, even after Elton falls into a toxic relationship with a manipulative manager, John Reid, played by Richard Madden of \u003cem>Game of Thrones\u003c/em> fame.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It may be a little reductive to use John’s music as a form of narrative shorthand, but it also works like gangbusters: We’re reminded of just how soulful and emotionally malleable that music is. In one of the more blatant but inspired artistic liberties, Elton makes his stateside debut at the Troubadour in Los Angeles with a gravity-defying performance of “Crocodile Rock” — never mind that it’s 1970, two years before he and Taupin would write that song in real life.\u003c/p>\n\u003cp>Egerton does his own singing as John, and though he’s not a perfect physical match for the character, it hardly matters. Rather than going for showy mimicry, the 29-year-old actor underplays, locating subtle depths of feeling in a figure known for his flamboyance. He retains a firm grip on the character even when John begins his downward spiral, climaxing with his 1975 suicide attempt when he overdoses on Valium and plunges into his swimming pool. It’s here that director Fletcher unleashes the song “Rocket Man” itself, staged as a gorgeously lyrical underwater fantasy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13858037","hero":"https://ww2.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-1920x1080.jpg","target":"_blank","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moments like that give the movie a coherence and fluidity that eluded the much more slapdash \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>\u003c/a>\u003cem>, \u003c/em>which Fletcher completed after its director, Bryan Singer, was fired mid-production. It’s hard not to compare the two: Like \u003cem>Rhapsody\u003c/em>, \u003cem>Rocketman\u003c/em> is a portrait of an LGBT glam-rock icon who repressed his sexuality but ultimately couldn’t keep it out of the spotlight. This movie, to its credit, takes a much more intimate and empathetic view of its subject’s romantic life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s not to say that \u003cem>Rocketman\u003c/em> doesn’t have its overly processed, sanitized moments. You may nod your head somewhat dutifully as the story tumbles through its rise-and-fall-and-rise-again trajectory. But as John’s music itself reminds us, even the most familiar tune can take on new resonance. In the movie’s most aching moments, Elton seems to be singing not to others but to himself, as if to suggest that even the most universal pleasures often have intensely personal roots. Before it was your song, it was his.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Elton+John+Biopic+%27Rocketman%27+Is+A+Surprising+Song-And-Dance+Spectacular&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13858541/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular","authors":["byline_arts_13858541"],"categories":["arts_74","arts_90"],"tags":["arts_13672","arts_1118","arts_977","arts_5442","arts_596"],"affiliates":["arts_137"],"featImg":"arts_13858542","label":"arts_137"},"arts_13851444":{"type":"posts","id":"arts_13851444","meta":{"index":"posts_1591205157","site":"arts","id":"13851444","score":null,"sort":[1550854793000]},"guestAuthors":[],"slug":"dear-ex-a-man-dies-leaving-behind-a-wife-a-son-and-a-secret-gay-lover","title":"'Dear Ex': A Man Dies, Leaving Behind A Wife, A Son And A Secret Gay Lover","publishDate":1550854793,"format":"standard","headTitle":"‘Dear Ex’: A Man Dies, Leaving Behind A Wife, A Son And A Secret Gay Lover | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Domestic dramas have to walk a fine line between sweetness and pathos, and the shaggy-yet-lovable new film \u003cem>Dear Ex\u003c/em> succeeds at this balance more than others. The Taiwanese heartstring-tugger, now available on Netflix after only being acquired by the service a week ago, circles around three complicated, hard-to-love characters, allowing their complexities to cloud their better natures. As in last year’s lovely Israeli drama \u003ca href=\"https://www.npr.org/2018/06/28/624046119/in-the-cakemaker-grieving-is-baked-in\">\u003cem>The Cakemaker\u003c/em>\u003c/a>, the film links these figures via a closeted, recently deceased family man: a specter of authenticity cloaked in secrecy, who forces a reckoning for the loved ones he left behind.\u003c/p>\n\u003cp>The film opens with 13-year-old Chengxi (Joseph Huang) claiming he always knew his dad was gay. It has been three months since his professor father’s death from cancer, and Chengxi learns he’s been written out of his insurance policy. His prone-to-hysterics mother Sanlian (Ying-Xuan Hsieh) knows the truth: that her deceased husband Zhangyuan secretly named his longtime male lover as his benefactor, but that the claim can’t go through unless she signs off on it. So Sanlian drags Chengxi along to the mystery man’s ramshackle apartment, hoping to spur a confrontation that will somehow put the lid back on the wreckage of their lives.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Dear Ex Trailer | SGIFF 2018\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/r94pd519Jf4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The first third of \u003cem>Dear Ex\u003c/em> is told from Chengxi’s perspective, and it’s the strongest chunk of the film by far: a strange blend of sullen teen angst and the shock of an uncovered secret. The kid is utterly fascinated by his father’s lover Jay, a thirtysomething community theater director who can be furious one minute and tender the next. (He’s played by a terrific Roy Chiu, whose raw, prickly performance has no trace of the mincing-younger-gay-lover onscreen stereotype.) To escape his mother’s needling, Chengxi moves himself into Jay’s life without asking permission, and the two develop a wary bond as they putter through the city on Jay’s moped, trying to figure out what they mean to each other. Writer-director Mag Hsu and her co-director Chih-Yen Hsu stage these scenes in bright, brilliant hues, with long shots of the characters maneuvering around each other in hallways that bring to mind some of the early work of pioneering Taiwanese auteur Tsai Ming-Liang.\u003c/p>\n\u003cp>As the film broadens in scope, incorporating flashbacks and new dynamics like Jay’s traditionalist mother, it also shifts perspective: first to Sanlian, and then to Jay. But along the way, it loses the spark that came with a teenager’s incomplete-yet-restless worldview, instead entering a world of full-bore melodrama. Sanlian’s storyline, in particular, feels retrograde, both in her views on gay men and in her cartoonish attempts to keep a handle on her son by any means necessary – including an obsession with sending him off to college in Canada.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jay is the one character who defies easy categorization, because even through his slovenly nature and clear distrust of this family intrusion, his genuine devotion to the man he loved shines through. His flashback scenes with Zhangyuan (Spark Chen) are affectionate and sad, particularly when the two men discuss why they must keep their affair a secret to their families. “Not letting them be sad or worried is our responsibility,” Zhangyuan says.\u003c/p>\n\u003cp>A nice bit of linguistic detail: Though Sanlian tries to emasculate Jay by calling him a “mistress,” we quickly learn Zhangyuan, in fact, called him “hubby”… prompting Chengxi to instead refer to his mother as the true “mistress.” Identities shift like this throughout the story, as the three leads develop newfound compassion for each other despite their initial reservations. (As is required by law with every teen movie these days, some of this development must come with onscreen notebook doodles and scribbles to illustrate obvious points.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Taiwan is \u003ca href=\"https://qz.com/1470193/how-taiwan-became-the-most-lgbt-friendly-country-in-asia/\">often recognized\u003c/a> as the most LGBT-friendly region in Asia, making the existence and wide availability of films like \u003cem>Dear Ex\u003c/em> a welcome cultural development. Considering the U.S.’s own mainstream movie industry has been remarkably slow to tell similar stories without patronizing characters like Jay, perhaps American filmmakers could learn something here, as well. The film may pale in comparison to \u003cem>The Cakemaker\u003c/em>, which told its story with more nuance and sensory detail. But\u003cem> Dear Ex\u003c/em>‘s narrative hiccups and tonal missteps seem less blaring by the time it enters its affecting homestretch, which involves Jay taking on large amounts of debt to stage a revival of a play with great emotional significance. Love in this movie is expressed in odd ways, but it is still genuine.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n","blocks":[],"excerpt":"When it focuses on 13-year-old Chengxi (Joseph Huang), this \"shaggy-but-lovable\" Taiwanese film now on Netflix dutifully tugs the heartstrings. ","status":"publish","parent":0,"modified":1705026562,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":805},"headData":{"title":"'Dear Ex': A Man Dies, Leaving Behind A Wife, A Son And A Secret Gay Lover | KQED","description":"When it focuses on 13-year-old Chengxi (Joseph Huang), this "shaggy-but-lovable" Taiwanese film now on Netflix dutifully tugs the heartstrings. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Dear Ex': A Man Dies, Leaving Behind A Wife, A Son And A Secret Gay Lover","datePublished":"2019-02-22T16:59:53.000Z","dateModified":"2024-01-12T02:29:22.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Andrew Lapin","nprImageAgency":"Netflix","nprStoryId":"689747686","nprApiLink":"http://api.npr.org/query?id=689747686&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/02/02/689747686/dear-ex-a-man-dies-leaving-behind-a-wife-a-son-and-a-secret-gay-lover?ft=nprml&f=689747686","nprRetrievedStory":"1","nprPubDate":"Sat, 02 Feb 2019 07:00:00 -0500","nprStoryDate":"Sat, 02 Feb 2019 07:00:21 -0500","nprLastModifiedDate":"Sat, 02 Feb 2019 07:00:21 -0500","path":"/arts/13851444/dear-ex-a-man-dies-leaving-behind-a-wife-a-son-and-a-secret-gay-lover","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Domestic dramas have to walk a fine line between sweetness and pathos, and the shaggy-yet-lovable new film \u003cem>Dear Ex\u003c/em> succeeds at this balance more than others. The Taiwanese heartstring-tugger, now available on Netflix after only being acquired by the service a week ago, circles around three complicated, hard-to-love characters, allowing their complexities to cloud their better natures. As in last year’s lovely Israeli drama \u003ca href=\"https://www.npr.org/2018/06/28/624046119/in-the-cakemaker-grieving-is-baked-in\">\u003cem>The Cakemaker\u003c/em>\u003c/a>, the film links these figures via a closeted, recently deceased family man: a specter of authenticity cloaked in secrecy, who forces a reckoning for the loved ones he left behind.\u003c/p>\n\u003cp>The film opens with 13-year-old Chengxi (Joseph Huang) claiming he always knew his dad was gay. It has been three months since his professor father’s death from cancer, and Chengxi learns he’s been written out of his insurance policy. His prone-to-hysterics mother Sanlian (Ying-Xuan Hsieh) knows the truth: that her deceased husband Zhangyuan secretly named his longtime male lover as his benefactor, but that the claim can’t go through unless she signs off on it. So Sanlian drags Chengxi along to the mystery man’s ramshackle apartment, hoping to spur a confrontation that will somehow put the lid back on the wreckage of their lives.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Dear Ex Trailer | SGIFF 2018\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/r94pd519Jf4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The first third of \u003cem>Dear Ex\u003c/em> is told from Chengxi’s perspective, and it’s the strongest chunk of the film by far: a strange blend of sullen teen angst and the shock of an uncovered secret. The kid is utterly fascinated by his father’s lover Jay, a thirtysomething community theater director who can be furious one minute and tender the next. (He’s played by a terrific Roy Chiu, whose raw, prickly performance has no trace of the mincing-younger-gay-lover onscreen stereotype.) To escape his mother’s needling, Chengxi moves himself into Jay’s life without asking permission, and the two develop a wary bond as they putter through the city on Jay’s moped, trying to figure out what they mean to each other. Writer-director Mag Hsu and her co-director Chih-Yen Hsu stage these scenes in bright, brilliant hues, with long shots of the characters maneuvering around each other in hallways that bring to mind some of the early work of pioneering Taiwanese auteur Tsai Ming-Liang.\u003c/p>\n\u003cp>As the film broadens in scope, incorporating flashbacks and new dynamics like Jay’s traditionalist mother, it also shifts perspective: first to Sanlian, and then to Jay. But along the way, it loses the spark that came with a teenager’s incomplete-yet-restless worldview, instead entering a world of full-bore melodrama. Sanlian’s storyline, in particular, feels retrograde, both in her views on gay men and in her cartoonish attempts to keep a handle on her son by any means necessary – including an obsession with sending him off to college in Canada.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jay is the one character who defies easy categorization, because even through his slovenly nature and clear distrust of this family intrusion, his genuine devotion to the man he loved shines through. His flashback scenes with Zhangyuan (Spark Chen) are affectionate and sad, particularly when the two men discuss why they must keep their affair a secret to their families. “Not letting them be sad or worried is our responsibility,” Zhangyuan says.\u003c/p>\n\u003cp>A nice bit of linguistic detail: Though Sanlian tries to emasculate Jay by calling him a “mistress,” we quickly learn Zhangyuan, in fact, called him “hubby”… prompting Chengxi to instead refer to his mother as the true “mistress.” Identities shift like this throughout the story, as the three leads develop newfound compassion for each other despite their initial reservations. (As is required by law with every teen movie these days, some of this development must come with onscreen notebook doodles and scribbles to illustrate obvious points.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Taiwan is \u003ca href=\"https://qz.com/1470193/how-taiwan-became-the-most-lgbt-friendly-country-in-asia/\">often recognized\u003c/a> as the most LGBT-friendly region in Asia, making the existence and wide availability of films like \u003cem>Dear Ex\u003c/em> a welcome cultural development. Considering the U.S.’s own mainstream movie industry has been remarkably slow to tell similar stories without patronizing characters like Jay, perhaps American filmmakers could learn something here, as well. The film may pale in comparison to \u003cem>The Cakemaker\u003c/em>, which told its story with more nuance and sensory detail. But\u003cem> Dear Ex\u003c/em>‘s narrative hiccups and tonal missteps seem less blaring by the time it enters its affecting homestretch, which involves Jay taking on large amounts of debt to stage a revival of a play with great emotional significance. Love in this movie is expressed in odd ways, but it is still genuine.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13851444/dear-ex-a-man-dies-leaving-behind-a-wife-a-son-and-a-secret-gay-lover","authors":["byline_arts_13851444"],"categories":["arts_74","arts_90","arts_75","arts_990"],"tags":["arts_1119","arts_1118","arts_3226","arts_3324","arts_746","arts_1377","arts_596","arts_6772"],"affiliates":["arts_137"],"featImg":"arts_13851445","label":"arts_137"},"arts_13845469":{"type":"posts","id":"arts_13845469","meta":{"index":"posts_1591205157","site":"arts","id":"13845469","score":null,"sort":[1543078830000]},"guestAuthors":[],"slug":"you-better-own-this-how-rami-malek-came-to-embody-freddie-mercury","title":"'You Better Own This': How Rami Malek Came To Embody Freddie Mercury","publishDate":1543078830,"format":"image","headTitle":"‘You Better Own This’: How Rami Malek Came To Embody Freddie Mercury | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>There is a moment in \u003cem>Bohemian Rhapsody,\u003c/em> the new biopic on the late \u003ca href=\"https://www.npr.org/artists/90283085/queen\">Queen\u003c/a> lead singer Freddie Mercury, when Rami Malek, playing Mercury, steps onto the stage in a sequin leotard that leaves little to the imagination. The outfit is pure Mercury. But Malek, who also plays a withdrawn hacker on the hit television series \u003ca href=\"https://www.npr.org/2015/08/26/434872326/vigilante-computer-geeks-reign-in-the-addictive-mr-robot\">\u003cem>Mr. Robot\u003c/em>,\u003c/a> initially felt so uncomfortable in it that he had to talk himself into wearing it.\u003c/p>\n\u003cp>[contextly_sidebar id=”KrKx0xZQrYpOk1Sf1hnSAMi2GRvjNJS1″]\u003c/p>\n\u003cp>“I said [to myself], ‘Listen, if you’re going to play a man who [will] rock this thing out like nobody’s business … you better own this,'” Malek says.\u003c/p>\n\u003cp>Call it the power of sequins, but Malek ultimately found himself channeling Mercury’s charismatic stage presence so much so that toward the end of shooting the film, he asked the costume designer to make his character another sequin leotard, this time in ruby red.\u003c/p>\n\u003cp>Malek speculates that the singer’s showmanship sprung from a desire to find his place in the world. Born in Zanzibar as Farrokh Bulsara, Mercury had buck teeth and was called “Bucky” by most of the kids at the boarding school he attended in India. When Mercury returned to Zanzibar after boarding school, the country was in the midst of a revolution and his family had to immigrate to London. “At that point, trying to identify himself, [he] feels like a fish out of water,” Malek says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But in front of a crowd, it was a different story: “When [Mercury] gets out on the stage, he holds everyone’s attention and says, ‘Hey, I may have been an outcast and a misfit, and I may feel like I don’t belong, but here on this stage, we belong together,'” Malek says. “It is the most beautiful thing to see realized.”\u003c/p>\n\u003cp>\u003cem>Click on the audio link to hear the full \u003c/em>Fresh Air \u003cem>interview with Rami Malek and read interview highlights below. \u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/669850052/670086832\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On how audio engineers for the film mixed together Mercury and Malek’s vocals\u003c/strong>\u003c/p>\n\u003cp>It’s actually an amalgamation. The large majority is Freddie Mercury. I went out every day and sang at the top of my lungs, because that’s the only way to match what he’s doing. He’s giving everything 110 percent, always. And in order to sync it up properly they use bits of my voice. … It will lead in with my voice, and then pick up the majority using Freddie Mercury’s voice.\u003c/p>\n\u003cp>What I quickly realized was no one can sing like Freddie Mercury, and nor can I. It’s very difficult to get my voice up to those high notes, and at some point, my voice breaks. And it breaks pretty quickly when I’m trying to ascend what Freddie Mercury can do.\u003c/p>\n\u003cp>\u003cstrong>On shooting Queen’s iconic set at the 1985 Live Aid charity concert \u003c/strong>\u003c/p>\n\u003cp>It was the first thing we shot: Live Aid. Day one. We came out and it was that massive crane shot that goes through the audience and comes right up around the piano and opens to Freddie Mercury, myself playing him, singing “Bohemian Rhapsody.” … Talk about a baptism by fire! I had never worked that hard in my life on one particular piece of filming.\u003c/p>\n\u003cp>Every day I spent hours with a movement teacher. … I always wanted to keep it very spontaneous, but at the same time, honor this fantastic performance that he and Queen gave. … There are things he does with that microphone that defy what the mere mortal can do. He whips around with it with violence at times, with elegance he uses it as the air guitar — sometimes, right in front of one of the greatest guitar players of all time, Brian May. So as Brian May is crushing it on guitar, here is Freddie Mercury air-guitaring, and it’s still a magnificent thing to watch. It’s so compelling and only he could get away with that.\u003c/p>\n\u003cp>\u003cstrong>On wearing prosthetic teeth to play Mercury \u003c/strong>\u003c/p>\n\u003cp>The teeth were difficult to get used to in the beginning. Initially, I put them in my mouth a year prior to shooting and I immediately felt insecure. I felt like I was on my back foot, in a way. I didn’t feel like myself. …\u003c/p>\n\u003cp>It was a feeling of insecurity that I had to cover them up as well. I had been watching so much footage of him. You see him covering up his teeth so often that I thought, “How am I ever going to do that?” Well, as soon as those teeth went in, it was second nature. I found myself covering them up so often. My lips would dry up, so I found myself licking my lips as he did.\u003c/p>\n\u003cp>But another thing happened: I started to compensate physically by holding my posture better, elongating my body, sitting up very straight, and that’s something you also see him do. And I don’t know if that was something that affected him, or he was born with the elegance that he has, but it did give me a way into understanding a little bit more about him.\u003c/p>\n\u003cp>\u003cstrong>On how he relates to Mercury as a child of immigrants pursuing a life in the arts\u003c/strong>\u003c/p>\n\u003cp>I had to demystify him somehow. The way to do that was looking at his background, and I thought to myself, “Here’s a young man [who] immigrated to a country, defied all obstacles to do what he loved.” That was one thing that I could understand.\u003c/p>\n\u003cp>Not to compare myself to him in any way, shape or form, but I am a first generation American. My family came from Egypt and sought a better life for their children in the U.S. Obviously, like so many people, they would have loved for us to be doctors and lawyers. … It was very difficult to convince anyone that I wanted to do this, and that I could do this.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Sidney Madden adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27You+Better+Own+This%27%3A+How+Rami+Malek+Came+To+Embody+Freddie+Mercury&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"Malek sang at the top of his lungs while playing Queen's iconic lead singer in the new biopic \u003cem>Bohemian Rhapsody. \u003c/em>Still, he says, \"No one can sing like Freddie Mercury.\"","status":"publish","parent":0,"modified":1705026975,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1080},"headData":{"title":"'You Better Own This': How Rami Malek Came To Embody Freddie Mercury | KQED","description":"Malek sang at the top of his lungs while playing Queen's iconic lead singer in the new biopic Bohemian Rhapsody. Still, he says, "No one can sing like Freddie Mercury."","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'You Better Own This': How Rami Malek Came To Embody Freddie Mercury","datePublished":"2018-11-24T17:00:30.000Z","dateModified":"2024-01-12T02:36:15.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Alex Bailey","nprByline":"Terry Gross","nprImageAgency":"20th Century Fox","nprStoryId":"669850052","nprApiLink":"http://api.npr.org/query?id=669850052&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2018/11/21/669850052/you-better-own-this-how-rami-malek-came-to-embody-freddie-mercury?ft=nprml&f=669850052","nprRetrievedStory":"1","nprPubDate":"Wed, 21 Nov 2018 16:10:00 -0500","nprStoryDate":"Wed, 21 Nov 2018 14:16:33 -0500","nprLastModifiedDate":"Wed, 21 Nov 2018 16:10:32 -0500","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2018/11/20181121_fa_01.mp3?orgId=427869011&topicId=1105&d=2626&p=13&story=669850052&ft=nprml&f=669850052","nprAudioM3u":"http://api.npr.org/m3u/1670086832-e565f4.m3u?orgId=427869011&topicId=1105&d=2626&p=13&story=669850052&ft=nprml&f=669850052","audioTrackLength":2627,"path":"/arts/13845469/you-better-own-this-how-rami-malek-came-to-embody-freddie-mercury","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2018/11/20181121_fa_01.mp3?orgId=427869011&topicId=1105&d=2626&p=13&story=669850052&ft=nprml&f=669850052","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a moment in \u003cem>Bohemian Rhapsody,\u003c/em> the new biopic on the late \u003ca href=\"https://www.npr.org/artists/90283085/queen\">Queen\u003c/a> lead singer Freddie Mercury, when Rami Malek, playing Mercury, steps onto the stage in a sequin leotard that leaves little to the imagination. The outfit is pure Mercury. But Malek, who also plays a withdrawn hacker on the hit television series \u003ca href=\"https://www.npr.org/2015/08/26/434872326/vigilante-computer-geeks-reign-in-the-addictive-mr-robot\">\u003cem>Mr. Robot\u003c/em>,\u003c/a> initially felt so uncomfortable in it that he had to talk himself into wearing it.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I said [to myself], ‘Listen, if you’re going to play a man who [will] rock this thing out like nobody’s business … you better own this,'” Malek says.\u003c/p>\n\u003cp>Call it the power of sequins, but Malek ultimately found himself channeling Mercury’s charismatic stage presence so much so that toward the end of shooting the film, he asked the costume designer to make his character another sequin leotard, this time in ruby red.\u003c/p>\n\u003cp>Malek speculates that the singer’s showmanship sprung from a desire to find his place in the world. Born in Zanzibar as Farrokh Bulsara, Mercury had buck teeth and was called “Bucky” by most of the kids at the boarding school he attended in India. When Mercury returned to Zanzibar after boarding school, the country was in the midst of a revolution and his family had to immigrate to London. “At that point, trying to identify himself, [he] feels like a fish out of water,” Malek says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But in front of a crowd, it was a different story: “When [Mercury] gets out on the stage, he holds everyone’s attention and says, ‘Hey, I may have been an outcast and a misfit, and I may feel like I don’t belong, but here on this stage, we belong together,'” Malek says. “It is the most beautiful thing to see realized.”\u003c/p>\n\u003cp>\u003cem>Click on the audio link to hear the full \u003c/em>Fresh Air \u003cem>interview with Rami Malek and read interview highlights below. \u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/669850052/670086832\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On how audio engineers for the film mixed together Mercury and Malek’s vocals\u003c/strong>\u003c/p>\n\u003cp>It’s actually an amalgamation. The large majority is Freddie Mercury. I went out every day and sang at the top of my lungs, because that’s the only way to match what he’s doing. He’s giving everything 110 percent, always. And in order to sync it up properly they use bits of my voice. … It will lead in with my voice, and then pick up the majority using Freddie Mercury’s voice.\u003c/p>\n\u003cp>What I quickly realized was no one can sing like Freddie Mercury, and nor can I. It’s very difficult to get my voice up to those high notes, and at some point, my voice breaks. And it breaks pretty quickly when I’m trying to ascend what Freddie Mercury can do.\u003c/p>\n\u003cp>\u003cstrong>On shooting Queen’s iconic set at the 1985 Live Aid charity concert \u003c/strong>\u003c/p>\n\u003cp>It was the first thing we shot: Live Aid. Day one. We came out and it was that massive crane shot that goes through the audience and comes right up around the piano and opens to Freddie Mercury, myself playing him, singing “Bohemian Rhapsody.” … Talk about a baptism by fire! I had never worked that hard in my life on one particular piece of filming.\u003c/p>\n\u003cp>Every day I spent hours with a movement teacher. … I always wanted to keep it very spontaneous, but at the same time, honor this fantastic performance that he and Queen gave. … There are things he does with that microphone that defy what the mere mortal can do. He whips around with it with violence at times, with elegance he uses it as the air guitar — sometimes, right in front of one of the greatest guitar players of all time, Brian May. So as Brian May is crushing it on guitar, here is Freddie Mercury air-guitaring, and it’s still a magnificent thing to watch. It’s so compelling and only he could get away with that.\u003c/p>\n\u003cp>\u003cstrong>On wearing prosthetic teeth to play Mercury \u003c/strong>\u003c/p>\n\u003cp>The teeth were difficult to get used to in the beginning. Initially, I put them in my mouth a year prior to shooting and I immediately felt insecure. I felt like I was on my back foot, in a way. I didn’t feel like myself. …\u003c/p>\n\u003cp>It was a feeling of insecurity that I had to cover them up as well. I had been watching so much footage of him. You see him covering up his teeth so often that I thought, “How am I ever going to do that?” Well, as soon as those teeth went in, it was second nature. I found myself covering them up so often. My lips would dry up, so I found myself licking my lips as he did.\u003c/p>\n\u003cp>But another thing happened: I started to compensate physically by holding my posture better, elongating my body, sitting up very straight, and that’s something you also see him do. And I don’t know if that was something that affected him, or he was born with the elegance that he has, but it did give me a way into understanding a little bit more about him.\u003c/p>\n\u003cp>\u003cstrong>On how he relates to Mercury as a child of immigrants pursuing a life in the arts\u003c/strong>\u003c/p>\n\u003cp>I had to demystify him somehow. The way to do that was looking at his background, and I thought to myself, “Here’s a young man [who] immigrated to a country, defied all obstacles to do what he loved.” That was one thing that I could understand.\u003c/p>\n\u003cp>Not to compare myself to him in any way, shape or form, but I am a first generation American. My family came from Egypt and sought a better life for their children in the U.S. Obviously, like so many people, they would have loved for us to be doctors and lawyers. … It was very difficult to convince anyone that I wanted to do this, and that I could do this.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Sidney Madden adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27You+Better+Own+This%27%3A+How+Rami+Malek+Came+To+Embody+Freddie+Mercury&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13845469/you-better-own-this-how-rami-malek-came-to-embody-freddie-mercury","authors":["byline_arts_13845469"],"categories":["arts_835","arts_90","arts_235"],"featImg":"arts_13845470","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. 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