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"headTitle": "Lockdown Movie Musts: 1970s Disaster Debacles | KQED",
"content": "\u003cp>Welcome to Week 6 of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll make you go, “Hey. At least I’m not trapped in a burning building with Charlton Heston right now.”\u003c/p>\n\u003cp>This week, hold onto your pants/a priest/a pilot because we’re diving head first into 1970s disaster movies. I know, I know—it seems counterintuitive to subject yourself to this right now. But \u003cem>trust me\u003c/em>. You’ll not find another genre in which the tenacity of the human spirit shines brighter. Also—someone has to say it—there just is no balm more soothing than watching Much Worse Things happen to (fictional) Other People.\u003c/p>\n\u003cp>Need examples? Here’s a list of things that happen to characters in 1972’s \u003ca href=\"https://www.imdb.com/title/tt0069113/?ref_=fn_al_tt_5\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Poseidon Adventure\u003c/em>\u003c/a> that are way worse than sheltering in place:\u003c/p>\n\u003col>\n\u003cli>Getting crushed by a piano;\u003c/li>\n\u003cli>Getting crushed by a giant Christmas tree;\u003c/li>\n\u003cli>Falling from a great height into an ornate glass window/a fire/a flooded pipe;\u003c/li>\n\u003cli>Taking orders from Gene Hackman;\u003c/li>\n\u003cli>Crawling through a hot pipe with Gene Hackman;\u003c/li>\n\u003cli>Dying of a heart attack because you saved Gene Hackman.\u003c/li>\n\u003c/ol>\n\u003cp>You get the idea.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CP0wV7IvSiI\u003c/p>\n\u003cp>Needless to say, if you’re one of the few people who hasn’t already developed a phobia of cruises after witnessing floating coronavirus quarantines, \u003cem>The Poseidon Adventure\u003c/em> should finish the job.\u003c/p>\n\u003cp>Which brings us to another movie that’s excellent at making you feel just fine about not traveling: 1970’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0065377/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">Airport\u003c/a>\u003c/em>. This spawned three sequels and 1980’s \u003ca href=\"https://www.imdb.com/title/tt0080339/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Airplane!\u003c/em>\u003c/a> parody, starring Leslie Nielsen. (Nielsen, by the by, also played the captain in \u003cem>The Poseidon Adventure\u003c/em>. I’d have mentioned it sooner but he dies after about two minutes, so … y’know.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Anyway, \u003cem>Airport\u003c/em> is a movie that’s modern enough to depict airports as the raging, overcrowded hellscapes they still are, but old enough to have a philandering pilot character played (of course!) by Dean Martin. At one point, Martin tries to coerce a flight attendant into sexual activity by saying: “If you take me up to full throttle then throw me into reverse, you could damage my engine.”\u003c/p>\n\u003cp>Sorry. Can you hang on a minute?\u003c/p>\n\u003cp>*puts fist through wall*\u003c/p>\n\u003cp>That’s better.\u003c/p>\n\u003cp>This film is also old enough to present The Time Before Airport Security. There are plots about un-ticketed passengers slipping undetected onto flights; men casually carrying bombs onto planes inside briefcases; and airport employees feeling suspicious about passengers’ bags but being told, “There’s nothing we can do about it on this end.” (If we’re ever allowed in airports again, next time a TSA agent asks me to take my shoes off, I’ll probably kiss them.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PACKbKt8MOw\u003c/p>\n\u003cp>In the end, \u003cem>Airport\u003c/em> is basically a two-and-a-half-hour time capsule of a) how stupid we used to be, and; b) how tolerant audiences used to be of unnecessarily long movies featuring protracted scenes of snow shoveling.\u003c/p>\n\u003cp>Talking of which, almost nothing at all happens in the first 50 minutes of 1974’s \u003ca href=\"https://www.imdb.com/title/tt0071455/?ref_=nv_sr_srsg_2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Earthquake\u003c/em>\u003c/a>. You don’t really mind though, because instead of snow stuff, you get a variety of fun distractions like Geneviève Bujold’s pink-on-pink-on-pink-on-pink wardrobe and Walter Matthau’s cameo as a drunk. (Though, for some reason, in the credits he’s listed as “Walter Matuschanskayasky.” There’s obviously a joke here, but I can’t seem to find the punchline.)\u003c/p>\n\u003cp>Best of all, there’s Charlton Heston’s ridiculous car, which looks like this:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13879446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733-800x338.jpg\" alt=\"\" width=\"800\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733-768x325.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>What is it? Where’s the roof? Did a 6-year-old boy design it? Does the orange stripe make it go faster? Regardless of the answers, it tells you everything you need to know about Heston’s character. Whose name is Graff, by the way. (GRAFF.)\u003c/p>\n\u003cp>\u003cem>Earthquake\u003c/em> is a movie in which skyscrapers come with windows that can be broken by delicately nudging office chairs against them, and houses spontaneously explode for no reason. It’s a movie in which, on experiencing an Extremely Bad Earthquake, Charlton Heston still doesn’t put the roof on his car, cops herd civilians into basements, and high-rise office workers—this is my favorite one—pile into the nearest elevator.\u003c/p>\n\u003cp>So, yes. These people are even dumber than the ground staff in \u003cem>Airport\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w_BwX2fEUTo\u003c/p>\n\u003cp>All of which will make you happy to be on the ground, above the water and unimpeded by falling concrete slabs.\u003c/p>\n\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "This week's mental escape from shelter-in-place comes via disastrous journeys on planes, cruise ships and ... whatever the hell Charlton Heston is driving in 'Earthquake.' ",
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"description": "This week's mental escape from shelter-in-place comes via disastrous journeys on planes, cruise ships and ... whatever the hell Charlton Heston is driving in 'Earthquake.' ",
"title": "Lockdown Movie Musts: 1970s Disaster Debacles | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to Week 6 of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll make you go, “Hey. At least I’m not trapped in a burning building with Charlton Heston right now.”\u003c/p>\n\u003cp>This week, hold onto your pants/a priest/a pilot because we’re diving head first into 1970s disaster movies. I know, I know—it seems counterintuitive to subject yourself to this right now. But \u003cem>trust me\u003c/em>. You’ll not find another genre in which the tenacity of the human spirit shines brighter. Also—someone has to say it—there just is no balm more soothing than watching Much Worse Things happen to (fictional) Other People.\u003c/p>\n\u003cp>Need examples? Here’s a list of things that happen to characters in 1972’s \u003ca href=\"https://www.imdb.com/title/tt0069113/?ref_=fn_al_tt_5\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Poseidon Adventure\u003c/em>\u003c/a> that are way worse than sheltering in place:\u003c/p>\n\u003col>\n\u003cli>Getting crushed by a piano;\u003c/li>\n\u003cli>Getting crushed by a giant Christmas tree;\u003c/li>\n\u003cli>Falling from a great height into an ornate glass window/a fire/a flooded pipe;\u003c/li>\n\u003cli>Taking orders from Gene Hackman;\u003c/li>\n\u003cli>Crawling through a hot pipe with Gene Hackman;\u003c/li>\n\u003cli>Dying of a heart attack because you saved Gene Hackman.\u003c/li>\n\u003c/ol>\n\u003cp>You get the idea.\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/CP0wV7IvSiI'\n title='//www.youtube.com/embed/CP0wV7IvSiI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Needless to say, if you’re one of the few people who hasn’t already developed a phobia of cruises after witnessing floating coronavirus quarantines, \u003cem>The Poseidon Adventure\u003c/em> should finish the job.\u003c/p>\n\u003cp>Which brings us to another movie that’s excellent at making you feel just fine about not traveling: 1970’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0065377/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">Airport\u003c/a>\u003c/em>. This spawned three sequels and 1980’s \u003ca href=\"https://www.imdb.com/title/tt0080339/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Airplane!\u003c/em>\u003c/a> parody, starring Leslie Nielsen. (Nielsen, by the by, also played the captain in \u003cem>The Poseidon Adventure\u003c/em>. I’d have mentioned it sooner but he dies after about two minutes, so … y’know.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Anyway, \u003cem>Airport\u003c/em> is a movie that’s modern enough to depict airports as the raging, overcrowded hellscapes they still are, but old enough to have a philandering pilot character played (of course!) by Dean Martin. At one point, Martin tries to coerce a flight attendant into sexual activity by saying: “If you take me up to full throttle then throw me into reverse, you could damage my engine.”\u003c/p>\n\u003cp>Sorry. Can you hang on a minute?\u003c/p>\n\u003cp>*puts fist through wall*\u003c/p>\n\u003cp>That’s better.\u003c/p>\n\u003cp>This film is also old enough to present The Time Before Airport Security. There are plots about un-ticketed passengers slipping undetected onto flights; men casually carrying bombs onto planes inside briefcases; and airport employees feeling suspicious about passengers’ bags but being told, “There’s nothing we can do about it on this end.” (If we’re ever allowed in airports again, next time a TSA agent asks me to take my shoes off, I’ll probably kiss them.)\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/PACKbKt8MOw'\n title='//www.youtube.com/embed/PACKbKt8MOw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the end, \u003cem>Airport\u003c/em> is basically a two-and-a-half-hour time capsule of a) how stupid we used to be, and; b) how tolerant audiences used to be of unnecessarily long movies featuring protracted scenes of snow shoveling.\u003c/p>\n\u003cp>Talking of which, almost nothing at all happens in the first 50 minutes of 1974’s \u003ca href=\"https://www.imdb.com/title/tt0071455/?ref_=nv_sr_srsg_2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Earthquake\u003c/em>\u003c/a>. You don’t really mind though, because instead of snow stuff, you get a variety of fun distractions like Geneviève Bujold’s pink-on-pink-on-pink-on-pink wardrobe and Walter Matthau’s cameo as a drunk. (Though, for some reason, in the credits he’s listed as “Walter Matuschanskayasky.” There’s obviously a joke here, but I can’t seem to find the punchline.)\u003c/p>\n\u003cp>Best of all, there’s Charlton Heston’s ridiculous car, which looks like this:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13879446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733-800x338.jpg\" alt=\"\" width=\"800\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733-768x325.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/earthquakeavcmkv_snapshot_000630_20160321_040733.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>What is it? Where’s the roof? Did a 6-year-old boy design it? Does the orange stripe make it go faster? Regardless of the answers, it tells you everything you need to know about Heston’s character. Whose name is Graff, by the way. (GRAFF.)\u003c/p>\n\u003cp>\u003cem>Earthquake\u003c/em> is a movie in which skyscrapers come with windows that can be broken by delicately nudging office chairs against them, and houses spontaneously explode for no reason. It’s a movie in which, on experiencing an Extremely Bad Earthquake, Charlton Heston still doesn’t put the roof on his car, cops herd civilians into basements, and high-rise office workers—this is my favorite one—pile into the nearest elevator.\u003c/p>\n\u003cp>So, yes. These people are even dumber than the ground staff in \u003cem>Airport\u003c/em>.\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/w_BwX2fEUTo'\n title='//www.youtube.com/embed/w_BwX2fEUTo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All of which will make you happy to be on the ground, above the water and unimpeded by falling concrete slabs.\u003c/p>\n\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Sample a Free SXSW Combo Platter on Amazon Prime",
"headTitle": "Now Playing! Sample a Free SXSW Combo Platter on Amazon Prime | KQED",
"content": "\u003cp>COVID-19 pulled the rug out from under South by Southwest, the major Austin, Texas film, music and tech festival, a mere week before the fest was set to begin in mid-March. So Amazon proposed a plan to stream—for free and for a limited time—every feature and short in the festival. It was an innovative partial solution that promoted SXSW, paid the filmmakers an undisclosed fee and, at the same time, self-evidently was neither the financial deal nor the platform that the vast majority of the 135 feature filmmakers in the SXSW program deemed the best distribution strategy for their films.\u003c/p>\n\u003cp>Consequently, only a handful of feature narratives and documentaries, a few episodes of new TV series and more than 30 short films accepted the offer. Dubbed “\u003ca href=\"https://www.amazon.com/adlp/sxsw\" target=\"_blank\" rel=\"noopener noreferrer\">Prime Video Presents the SXSW 2020 Film Festival Collection\u003c/a>,” the series launched this past Monday and streams through May 6. (An Amazon Prime membership isn’t required, but an Amazon account is.)\u003c/p>\n\u003cp>It’s important to recognize, as a viewer, that this collection resides at the intersection of film festival and the streaming experiences. The guiding principle of the former is accepting that you won’t love everything, but you’ll enter worlds and see visions you otherwise wouldn’t in the normal course of everyday commercial and/or arthouse movie-going.\u003c/p>\n\u003cp>While people very, very rarely walk out of a movie they’ve paid for, even if they don’t like it, streaming subscriptions are a de facto, 24/7 encouragement to start watching something/anything and, if it doesn’t grab you, bail. (I do this most frequently with stand-up comedy specials and long-form TV series.)\u003c/p>\n\u003cp>My gentle encouragement is to give everything in the SXSW 2020 Film Festival Collection a fair shot. That especially applies to the feature films—the short films will likely be over before you can even decide you’ve had enough. For your sampling consideration:\u003c/p>\n\u003cfigure id=\"attachment_13879455\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879455\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/figurant_still_08.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/figurant_still_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/figurant_still_08-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/figurant_still_08-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/figurant_still_08-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/figurant_still_08-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Figurant.’ \u003ccite>(Origine Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087FN6954\" target=\"_blank\" rel=\"noopener noreferrer\">Figurant\u003c/a>\u003c/em>\u003c/b>\u003cbr>\nCzech director Jan Vejnar’s riveting short film is a certified highlight of the series. Weather-beaten French actor Denis Lavant (\u003cem>Beau Travail\u003c/em>, \u003cem>Holy Motors\u003c/em>) trades his clothes for a few bucks and a day job as a film extra, or so it seems. It’s a parable, I think, of the film industry’s ruthless production ethos, as well as an indictment of governments who view soldiers as disposable parts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087JJF28R/\" target=\"_blank\" rel=\"noopener noreferrer\">Still Wylde\u003c/a>\u003c/em>\u003c/b>\u003cbr>\nWriter-director-star Ingrid Haas opens her vibrant piece with the not-unfamiliar scene of a young woman buying a bottle of booze at a corner store and, oh yeah, a pregnancy test. A lot of shorts are showcases for filmmakers with style and ambition, but \u003ci>Still Wylde\u003c/i>—which dashes through a longer period of time than most short films and mixes chuckle-worthy one-liners with piercingly dramatic moments—introduces a filmmaker with an off-center perspective and something to say.\u003c/p>\n\u003cp>\u003cb>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087GZ7X4Q/\" target=\"_blank\" rel=\"noopener noreferrer\">Dieorama\u003c/a>\u003c/em>\u003c/b>\u003cbr>\nThe program includes several fascinating nonfiction portraits of artists. Abigail Goldman is an investigator in the public defender’s office who lives a normal suburban life outside Bellingham, Washington and makes crimson-dappled dioramas of domestic carnage. Although we’re in \u003ci>Twin Peaks\u003c/i> country, and David Lynch (not to mention John Waters) would embrace Goldman’s artistic pursuit, filmmaker Kevin Staake smartly depicts Goldman head-on without surreal embellishments or postmodern condescension.\u003c/p>\n\u003cfigure id=\"attachment_13879456\" class=\"wp-caption aligncenter\" style=\"max-width: 950px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879456\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/betye-saar-taking-care-of-business-179188.png\" alt=\"\" width=\"950\" height=\"679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/betye-saar-taking-care-of-business-179188.png 950w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/betye-saar-taking-care-of-business-179188-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/betye-saar-taking-care-of-business-179188-800x572.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/betye-saar-taking-care-of-business-179188-768x549.png 768w\" sizes=\"(max-width: 950px) 100vw, 950px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Betye Saar: Taking Care of Business.’ \u003ccite>(SXSW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087KW871B/\" target=\"_blank\" rel=\"noopener noreferrer\">Betye Saar: Taking Care of Business\u003c/a>\u003c/em>\u003c/b>\u003cbr>\nNow in her 90s, Betye Saar is a remarkable artist and a genially provocative interviewee. Filmmaker Christine Turner packs an unbelievable number of her artworks, along with a telescoped biography, into a mere handful of minutes. The film makes you want to run out and visit a sprawling exhibition of Saar’s work, which is part of the goal of this piece produced for the Los Angeles County Museum of Art. It’s a delicious appetizer, but Saar deserves a full-length film.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087F58VVC/\" target=\"_blank\" rel=\"noopener noreferrer\">The Broken Orchestra\u003c/a>\u003c/em>\u003c/strong>\u003cbr>\nThe Philadelphia public school system, like all too many big city education departments, hacked its music budget to almost nothing. Charlie Tyrell reimagines the talking-head doc—cutting among interviews emanating from TVs on stands, i.e., catnip for high school A/V geeks in the house—to recount an inspiring grass-roots rehabilitation project for damaged instruments. Inspiring and infuriating, let me say, to anyone who’s fed up with the general lack of respect given to the arts in this country.\u003c/p>\n\u003cp>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087JYJQ8B/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>Le Choc du Futur\u003c/strong>\u003c/em>\u003c/a>\u003cbr>\nNot surprisingly, perhaps, none of the four narrative films in the SXSW lineup were made by U.S. filmmakers. Marc Collin’s enjoyably indulgent time-travel trip to late-’70s Paris focuses on an aspiring artist, Ana, who composes ahead-of-the-curve electronic music. This is kind of the perfect movie for sheltering in place, as it unfolds almost entirely in the flat where she’s housesitting with a wall of synthesizers, tape decks and, eventually, a beatbox. Alma Jodorowsky carries the unhurried film with a stylish naturalism that occasionally puts one in mind of Anna Karina. The misogyny she encounters isn’t unexpected, but the grooves of Throbbing Gristle and Aksak Maboul are.\u003c/p>\n\u003cfigure id=\"attachment_13879544\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879544\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/ModernWhore_FilmStill_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/ModernWhore_FilmStill_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/ModernWhore_FilmStill_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/ModernWhore_FilmStill_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/ModernWhore_FilmStill_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/ModernWhore_FilmStill_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Modern Whore.’ \u003ccite>(Courtesy of filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087H4KNRT/\" target=\"_blank\" rel=\"noopener noreferrer\">Modern Whore\u003c/a>\u003c/em>\u003c/strong>\u003cbr>\nAndrea Werhun describes herself as a performer, which is a kind of artist. The Toronto escort’s well-reviewed book of the same title, with photographer and filmmaker Nicole Bazuin, is full of provocative views on power, sex and money. The duo extends their collaboration with this highly art-directed, color-saturated, reenactment-laced slice of Werhun’s life that explores the thorny issue of vulnerability. \u003cem>Modern Whore\u003c/em> leaves you wanting more.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087FXZT4F\" target=\"_blank\" rel=\"noopener noreferrer\">I’m Gonna Make You Love Me\u003c/a>\u003c/strong>\u003c/em>\u003cbr>\nFor long stretches, Brian Belovitch lived a life of noisy desperation. Bullied as a boy in New England, Belovitch transitioned as a teenager and (after a short-lived marriage) fled to Manhattan to thrive as Tish, a performer in LGBTQ clubs in the ’80s. Then Belovitch came out again—as a gay man. Filmmakers Karen Bernstein and Nevie Owens get integrity points for opting not to structure and sell their documentary feature (which highlights Michael Musto as a voice of reason) as the latest (commercial) entry in the Warhol/Downtown subgenre. Instead they let Belovitch carry the ball most of the way through his wildly colorful life. Alas, I did not find their main subject the most riveting raconteur. I have to believe that \u003cem>I’m Gonna Make You Love Me\u003c/em>, which premiered last September at DocNYC, would be a shoo-in for the (now-postponed) Frameline festival. The audience that would have filled the Castro in June for this doc is the audience that will most appreciate it on Amazon Prime Video today.\u003c/p>\n\u003cfigure id=\"attachment_13879540\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/C-01-niels.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C-01-niels.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C-01-niels-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C-01-niels-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C-01-niels-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C-01-niels-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Cat in the Wall.’ \u003ccite>(Courtesy of filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087FR3748/\" target=\"_blank\" rel=\"noopener noreferrer\">Cat in the Wall\u003c/a>\u003c/strong>\u003c/em>\u003cbr>\nBulgarian filmmakers Vesela Kazakova and Mina Mileva parlay their documentary background into this lived-in narrative feature in which the camera is never more than a few feet from the characters. A Bulgarian mother, brother and young son live in close quarters in a London council estate, trying to forge careers and a future. They aren’t typical refugees—Irina’s an architect and Vladimir has a master’s degree—yet they face similar slings and frustrations. \u003cem>Cat in the Wall\u003c/em> is billed as a comedy-drama, and I expect the humor would pop more with a theater audience. To put it another way, this is the film for people who wish Ken Loach’s movies were 80% less grim.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087J7TFBW\" target=\"_blank\" rel=\"noopener noreferrer\">Broken Bird\u003c/a>\u003c/em>\u003c/strong>\u003cbr>\nLast but hardly least, this fiction short—which was slated to screen locally in the SFFILM festival a few weeks ago—introduces us to a Jersey girl preparing for her bat mitzvah and (symbolic) adulthood. There aren’t a lot of black Jews in the United States, so we suspect from the opening shot that there’s a unique story here. Writer-director Rachel Harrison Gordon wants us to read between the lines rather than tell us outright, though it’s clear that Birdie lives with her white mom and is meeting her African-American dad for lunch. Adulthood is complicated, and comes with all kinds of responsibilities, but Birdie is ready. Some shorts are the perfect length, while others make us want to follow the story a while longer. \u003cem>Broken Bird\u003c/em> is in that second group.\u003c/p>\n\n",
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"excerpt": "A tempting collection of films that lives (for a limited time) at the intersection of the film festival and the streaming experiences.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>COVID-19 pulled the rug out from under South by Southwest, the major Austin, Texas film, music and tech festival, a mere week before the fest was set to begin in mid-March. So Amazon proposed a plan to stream—for free and for a limited time—every feature and short in the festival. It was an innovative partial solution that promoted SXSW, paid the filmmakers an undisclosed fee and, at the same time, self-evidently was neither the financial deal nor the platform that the vast majority of the 135 feature filmmakers in the SXSW program deemed the best distribution strategy for their films.\u003c/p>\n\u003cp>Consequently, only a handful of feature narratives and documentaries, a few episodes of new TV series and more than 30 short films accepted the offer. Dubbed “\u003ca href=\"https://www.amazon.com/adlp/sxsw\" target=\"_blank\" rel=\"noopener noreferrer\">Prime Video Presents the SXSW 2020 Film Festival Collection\u003c/a>,” the series launched this past Monday and streams through May 6. (An Amazon Prime membership isn’t required, but an Amazon account is.)\u003c/p>\n\u003cp>It’s important to recognize, as a viewer, that this collection resides at the intersection of film festival and the streaming experiences. The guiding principle of the former is accepting that you won’t love everything, but you’ll enter worlds and see visions you otherwise wouldn’t in the normal course of everyday commercial and/or arthouse movie-going.\u003c/p>\n\u003cp>While people very, very rarely walk out of a movie they’ve paid for, even if they don’t like it, streaming subscriptions are a de facto, 24/7 encouragement to start watching something/anything and, if it doesn’t grab you, bail. (I do this most frequently with stand-up comedy specials and long-form TV series.)\u003c/p>\n\u003cp>My gentle encouragement is to give everything in the SXSW 2020 Film Festival Collection a fair shot. That especially applies to the feature films—the short films will likely be over before you can even decide you’ve had enough. For your sampling consideration:\u003c/p>\n\u003cfigure id=\"attachment_13879455\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879455\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/figurant_still_08.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/figurant_still_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/figurant_still_08-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/figurant_still_08-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/figurant_still_08-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/figurant_still_08-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Figurant.’ \u003ccite>(Origine Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087FN6954\" target=\"_blank\" rel=\"noopener noreferrer\">Figurant\u003c/a>\u003c/em>\u003c/b>\u003cbr>\nCzech director Jan Vejnar’s riveting short film is a certified highlight of the series. Weather-beaten French actor Denis Lavant (\u003cem>Beau Travail\u003c/em>, \u003cem>Holy Motors\u003c/em>) trades his clothes for a few bucks and a day job as a film extra, or so it seems. It’s a parable, I think, of the film industry’s ruthless production ethos, as well as an indictment of governments who view soldiers as disposable parts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087JJF28R/\" target=\"_blank\" rel=\"noopener noreferrer\">Still Wylde\u003c/a>\u003c/em>\u003c/b>\u003cbr>\nWriter-director-star Ingrid Haas opens her vibrant piece with the not-unfamiliar scene of a young woman buying a bottle of booze at a corner store and, oh yeah, a pregnancy test. A lot of shorts are showcases for filmmakers with style and ambition, but \u003ci>Still Wylde\u003c/i>—which dashes through a longer period of time than most short films and mixes chuckle-worthy one-liners with piercingly dramatic moments—introduces a filmmaker with an off-center perspective and something to say.\u003c/p>\n\u003cp>\u003cb>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087GZ7X4Q/\" target=\"_blank\" rel=\"noopener noreferrer\">Dieorama\u003c/a>\u003c/em>\u003c/b>\u003cbr>\nThe program includes several fascinating nonfiction portraits of artists. Abigail Goldman is an investigator in the public defender’s office who lives a normal suburban life outside Bellingham, Washington and makes crimson-dappled dioramas of domestic carnage. Although we’re in \u003ci>Twin Peaks\u003c/i> country, and David Lynch (not to mention John Waters) would embrace Goldman’s artistic pursuit, filmmaker Kevin Staake smartly depicts Goldman head-on without surreal embellishments or postmodern condescension.\u003c/p>\n\u003cfigure id=\"attachment_13879456\" class=\"wp-caption aligncenter\" style=\"max-width: 950px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879456\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/betye-saar-taking-care-of-business-179188.png\" alt=\"\" width=\"950\" height=\"679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/betye-saar-taking-care-of-business-179188.png 950w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/betye-saar-taking-care-of-business-179188-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/betye-saar-taking-care-of-business-179188-800x572.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/betye-saar-taking-care-of-business-179188-768x549.png 768w\" sizes=\"(max-width: 950px) 100vw, 950px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Betye Saar: Taking Care of Business.’ \u003ccite>(SXSW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087KW871B/\" target=\"_blank\" rel=\"noopener noreferrer\">Betye Saar: Taking Care of Business\u003c/a>\u003c/em>\u003c/b>\u003cbr>\nNow in her 90s, Betye Saar is a remarkable artist and a genially provocative interviewee. Filmmaker Christine Turner packs an unbelievable number of her artworks, along with a telescoped biography, into a mere handful of minutes. The film makes you want to run out and visit a sprawling exhibition of Saar’s work, which is part of the goal of this piece produced for the Los Angeles County Museum of Art. It’s a delicious appetizer, but Saar deserves a full-length film.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087F58VVC/\" target=\"_blank\" rel=\"noopener noreferrer\">The Broken Orchestra\u003c/a>\u003c/em>\u003c/strong>\u003cbr>\nThe Philadelphia public school system, like all too many big city education departments, hacked its music budget to almost nothing. Charlie Tyrell reimagines the talking-head doc—cutting among interviews emanating from TVs on stands, i.e., catnip for high school A/V geeks in the house—to recount an inspiring grass-roots rehabilitation project for damaged instruments. Inspiring and infuriating, let me say, to anyone who’s fed up with the general lack of respect given to the arts in this country.\u003c/p>\n\u003cp>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087JYJQ8B/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>Le Choc du Futur\u003c/strong>\u003c/em>\u003c/a>\u003cbr>\nNot surprisingly, perhaps, none of the four narrative films in the SXSW lineup were made by U.S. filmmakers. Marc Collin’s enjoyably indulgent time-travel trip to late-’70s Paris focuses on an aspiring artist, Ana, who composes ahead-of-the-curve electronic music. This is kind of the perfect movie for sheltering in place, as it unfolds almost entirely in the flat where she’s housesitting with a wall of synthesizers, tape decks and, eventually, a beatbox. Alma Jodorowsky carries the unhurried film with a stylish naturalism that occasionally puts one in mind of Anna Karina. The misogyny she encounters isn’t unexpected, but the grooves of Throbbing Gristle and Aksak Maboul are.\u003c/p>\n\u003cfigure id=\"attachment_13879544\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879544\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/ModernWhore_FilmStill_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/ModernWhore_FilmStill_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/ModernWhore_FilmStill_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/ModernWhore_FilmStill_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/ModernWhore_FilmStill_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/ModernWhore_FilmStill_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Modern Whore.’ \u003ccite>(Courtesy of filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087H4KNRT/\" target=\"_blank\" rel=\"noopener noreferrer\">Modern Whore\u003c/a>\u003c/em>\u003c/strong>\u003cbr>\nAndrea Werhun describes herself as a performer, which is a kind of artist. The Toronto escort’s well-reviewed book of the same title, with photographer and filmmaker Nicole Bazuin, is full of provocative views on power, sex and money. The duo extends their collaboration with this highly art-directed, color-saturated, reenactment-laced slice of Werhun’s life that explores the thorny issue of vulnerability. \u003cem>Modern Whore\u003c/em> leaves you wanting more.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087FXZT4F\" target=\"_blank\" rel=\"noopener noreferrer\">I’m Gonna Make You Love Me\u003c/a>\u003c/strong>\u003c/em>\u003cbr>\nFor long stretches, Brian Belovitch lived a life of noisy desperation. Bullied as a boy in New England, Belovitch transitioned as a teenager and (after a short-lived marriage) fled to Manhattan to thrive as Tish, a performer in LGBTQ clubs in the ’80s. Then Belovitch came out again—as a gay man. Filmmakers Karen Bernstein and Nevie Owens get integrity points for opting not to structure and sell their documentary feature (which highlights Michael Musto as a voice of reason) as the latest (commercial) entry in the Warhol/Downtown subgenre. Instead they let Belovitch carry the ball most of the way through his wildly colorful life. Alas, I did not find their main subject the most riveting raconteur. I have to believe that \u003cem>I’m Gonna Make You Love Me\u003c/em>, which premiered last September at DocNYC, would be a shoo-in for the (now-postponed) Frameline festival. The audience that would have filled the Castro in June for this doc is the audience that will most appreciate it on Amazon Prime Video today.\u003c/p>\n\u003cfigure id=\"attachment_13879540\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/C-01-niels.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C-01-niels.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C-01-niels-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C-01-niels-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C-01-niels-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C-01-niels-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Cat in the Wall.’ \u003ccite>(Courtesy of filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087FR3748/\" target=\"_blank\" rel=\"noopener noreferrer\">Cat in the Wall\u003c/a>\u003c/strong>\u003c/em>\u003cbr>\nBulgarian filmmakers Vesela Kazakova and Mina Mileva parlay their documentary background into this lived-in narrative feature in which the camera is never more than a few feet from the characters. A Bulgarian mother, brother and young son live in close quarters in a London council estate, trying to forge careers and a future. They aren’t typical refugees—Irina’s an architect and Vladimir has a master’s degree—yet they face similar slings and frustrations. \u003cem>Cat in the Wall\u003c/em> is billed as a comedy-drama, and I expect the humor would pop more with a theater audience. To put it another way, this is the film for people who wish Ken Loach’s movies were 80% less grim.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.amazon.com/gp/video/detail/B087J7TFBW\" target=\"_blank\" rel=\"noopener noreferrer\">Broken Bird\u003c/a>\u003c/em>\u003c/strong>\u003cbr>\nLast but hardly least, this fiction short—which was slated to screen locally in the SFFILM festival a few weeks ago—introduces us to a Jersey girl preparing for her bat mitzvah and (symbolic) adulthood. There aren’t a lot of black Jews in the United States, so we suspect from the opening shot that there’s a unique story here. Writer-director Rachel Harrison Gordon wants us to read between the lines rather than tell us outright, though it’s clear that Birdie lives with her white mom and is meeting her African-American dad for lunch. Adulthood is complicated, and comes with all kinds of responsibilities, but Birdie is ready. Some shorts are the perfect length, while others make us want to follow the story a while longer. \u003cem>Broken Bird\u003c/em> is in that second group.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lockdown Movie Musts: 1950s B-Movies, Underwater Monster Edition",
"headTitle": "Lockdown Movie Musts: 1950s B-Movies, Underwater Monster Edition | KQED",
"content": "\u003cp>Welcome to week five of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll take your mind off, well, (*smashes head on wall*) you know…\u003c/p>\n\u003cp>This week, we’re creepin’ and crawlin’ through swamps and a surprising amount of radiation to get better acquainted with the underwater creatures of 1950s B-movies. [aside postid='arts_13877955']\u003c/p>\n\u003cp>The rational place to start, of course, is with the most famous of them all: 1954’s\u003cem> \u003ca href=\"https://www.imdb.com/title/tt0046876/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">Creature From the Black Lagoon\u003c/a>\u003c/em>. It’s a movie that starts with lofty ideas (a depiction of the Big Bang!) and descends quickly into racist nonsense (why do all these indigenous people have hair like \u003ca href=\"http://www.americanmythology.net/gallery?lightbox=image_1x15\" target=\"_blank\" rel=\"noopener noreferrer\">Moe from the \u003cem>Three Stooges\u003c/em>\u003c/a>?). Then come a series of appearances by the aforementioned creature that revolve entirely around his webbed hand. (It reaches out of the water in a claw position! It touches the riverbank in slow motion for no reason! And, faced with the sight of a Moe haircut, it attacks!)\u003c/p>\n\u003cp>The plot involves a team of explorers who are hanging out in the Amazon investigating a fossilized version of The Webbed Hand that presumably came from the creature’s great-grandad. What follows is a gratuitous amount of scuba diving (presumably because it was only \u003ca href=\"https://blog.padi.com/2014/01/27/jacques-cousteau-the-father-of-scuba-diving/\" target=\"_blank\" rel=\"noopener noreferrer\">invented\u003c/a> 12 years before this movie came out) and human behavior that is increasingly hard to justify.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ariuokNFhSw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There the creature is, just swimming around, trying to deal with his woeful inability to successfully grab women’s ankles. Meanwhile, the humans are casually tossing cigarette butts into his lagoon and wondering why their repeated attempts to hurt or trap him are making him angry. It’s impossible not to side with the creature on this one. The moral of the story is clear: humans are \u003cem>awful\u003c/em>. [aside postid='arts_13878444']\u003c/p>\n\u003cp>1957’s \u003ca href=\"https://www.imdb.com/title/tt0050147/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Attack of the Crab Monsters\u003c/em>\u003c/a> makes for far less emotional viewing because it makes absolutely no sense. Sure, radiation has made a bunch of giant googly-eyed crabs. And sure, a team of humans wants to investigate. But get this! In this movie—and please bear with me—when a human gets eaten by a crab, the crab then magically absorbs the personality of the human and can suddenly transmit their voice and thoughts. Long-distance, sometimes!\u003c/p>\n\u003cp>Yeah.\u003c/p>\n\u003cp>At one point, an on-screen botanist tries to make sense of this by saying: “Once they were men, now they are land crabs.” Sure, bro, but what’s with the ghost-in-the-crustacean stuff?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S68QJFheZaw\u003c/p>\n\u003cp>Also on the confusing front—and this is definitely a side-note—there is only one woman on the team of explorers here and her eyebrows appear to have been stolen from a ventriloquist’s dummy.\u003c/p>\n\u003cp>Who did this to you, \u003ca href=\"https://www.imdb.com/name/nm0242056/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener noreferrer\">Pamela Duncan\u003c/a>?\u003c/p>\n\u003cfigure id=\"attachment_13879057\" class=\"wp-caption aligncenter\" style=\"max-width: 446px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879057\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-12.01.52-AM.png\" alt=\"Martha stressing about her weird eyebrows (probably) in 'Attack of the Crab Monsters.'\" width=\"446\" height=\"301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-12.01.52-AM.png 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-12.01.52-AM-160x108.png 160w\" sizes=\"(max-width: 446px) 100vw, 446px\">\u003cfigcaption class=\"wp-caption-text\">Martha stressing about her weird eyebrows (probably) in ‘Attack of the Crab Monsters.’\u003c/figcaption>\u003c/figure>\n\u003cp>Anyway, just like those eyebrows, \u003cem>Attack of the Crab Monsters\u003c/em> tries way, way too hard to justify itself. It could learn a thing or two from our next pick, a 1959 movie that answers the question: What would it look like if a man turned into an alligator, but still managed to keep his snazzy, high-waisted, 1950s pants on? It’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0052549/\" target=\"_blank\" rel=\"noopener noreferrer\">The Alligator People\u003c/a>\u003c/em>!\u003c/p>\n\u003cp>It all begins with Joyce, a woman whose husband, Paul, ditches her literally an hour into their honeymoon. She responds to this by going on a cross-country hunt to track him down. (Have some pride, woman! Just get an annulment and put on some \u003ca href=\"https://www.youtube.com/watch?v=gl1aHhXnN1k\" target=\"_blank\" rel=\"noopener noreferrer\">Ariana Grande\u003c/a>, already!)\u003c/p>\n\u003cp>After arriving in the butt crack of Louisiana, Joyce casually jumps into the truck of a man with a hook hand who enjoys running over alligators and saying menacing things about swamps and quicksand.\u003c/p>\n\u003cp>(Can we just take a timeout here to talk about the fact that, if you were a child growing up anytime between 1920 and 1990, quicksand was presented in popular culture as a constant, imminent threat. Why don’t we ever hear about quicksand anymore? It used to be freakin’ \u003cem>everywhere\u003c/em>.)\u003c/p>\n\u003cp>After arriving totally unannounced at Paul’s family’s house (rude much, Joyce?), Joyce meets Paul’s mom, who has an accent that can’t make up its mind about whether it wants to be Southern, British or Mrs. Doubtfire. Also, Joyce finds a local doctor who dresses like Colonel Sanders and has been doing dodgy experiments on gravely injured people using radiation and alligator DNA. Turns out—*dun-dun-duuuuun!*—Paul is one of them! And now his face is falling off! Or getting scaley! Or both depending on the makeup that day!\u003c/p>\n\u003cp>I don’t want to spoil the ending, but \u003ca href=\"https://www.imdb.com/name/nm0307500/?ref_=tt_cl_t1\" target=\"_blank\" rel=\"noopener noreferrer\">Beverly Garland\u003c/a> has to do a surprising amount of stunt work with living, snapping alligators, and the alligator-man in the pants is a thing of majestic beauty that you’ll never forget.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w-lv3OxnnG4\u003c/p>\n\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "This week's mental escape from shelter-in-place comes via alligator people, giant crabs and a very famous fish-man. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to week five of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll take your mind off, well, (*smashes head on wall*) you know…\u003c/p>\n\u003cp>This week, we’re creepin’ and crawlin’ through swamps and a surprising amount of radiation to get better acquainted with the underwater creatures of 1950s B-movies. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The rational place to start, of course, is with the most famous of them all: 1954’s\u003cem> \u003ca href=\"https://www.imdb.com/title/tt0046876/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">Creature From the Black Lagoon\u003c/a>\u003c/em>. It’s a movie that starts with lofty ideas (a depiction of the Big Bang!) and descends quickly into racist nonsense (why do all these indigenous people have hair like \u003ca href=\"http://www.americanmythology.net/gallery?lightbox=image_1x15\" target=\"_blank\" rel=\"noopener noreferrer\">Moe from the \u003cem>Three Stooges\u003c/em>\u003c/a>?). Then come a series of appearances by the aforementioned creature that revolve entirely around his webbed hand. (It reaches out of the water in a claw position! It touches the riverbank in slow motion for no reason! And, faced with the sight of a Moe haircut, it attacks!)\u003c/p>\n\u003cp>The plot involves a team of explorers who are hanging out in the Amazon investigating a fossilized version of The Webbed Hand that presumably came from the creature’s great-grandad. What follows is a gratuitous amount of scuba diving (presumably because it was only \u003ca href=\"https://blog.padi.com/2014/01/27/jacques-cousteau-the-father-of-scuba-diving/\" target=\"_blank\" rel=\"noopener noreferrer\">invented\u003c/a> 12 years before this movie came out) and human behavior that is increasingly hard to justify.\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/ariuokNFhSw'\n title='//www.youtube.com/embed/ariuokNFhSw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There the creature is, just swimming around, trying to deal with his woeful inability to successfully grab women’s ankles. Meanwhile, the humans are casually tossing cigarette butts into his lagoon and wondering why their repeated attempts to hurt or trap him are making him angry. It’s impossible not to side with the creature on this one. The moral of the story is clear: humans are \u003cem>awful\u003c/em>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>1957’s \u003ca href=\"https://www.imdb.com/title/tt0050147/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Attack of the Crab Monsters\u003c/em>\u003c/a> makes for far less emotional viewing because it makes absolutely no sense. Sure, radiation has made a bunch of giant googly-eyed crabs. And sure, a team of humans wants to investigate. But get this! In this movie—and please bear with me—when a human gets eaten by a crab, the crab then magically absorbs the personality of the human and can suddenly transmit their voice and thoughts. Long-distance, sometimes!\u003c/p>\n\u003cp>Yeah.\u003c/p>\n\u003cp>At one point, an on-screen botanist tries to make sense of this by saying: “Once they were men, now they are land crabs.” Sure, bro, but what’s with the ghost-in-the-crustacean stuff?\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/S68QJFheZaw'\n title='//www.youtube.com/embed/S68QJFheZaw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Also on the confusing front—and this is definitely a side-note—there is only one woman on the team of explorers here and her eyebrows appear to have been stolen from a ventriloquist’s dummy.\u003c/p>\n\u003cp>Who did this to you, \u003ca href=\"https://www.imdb.com/name/nm0242056/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener noreferrer\">Pamela Duncan\u003c/a>?\u003c/p>\n\u003cfigure id=\"attachment_13879057\" class=\"wp-caption aligncenter\" style=\"max-width: 446px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879057\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-12.01.52-AM.png\" alt=\"Martha stressing about her weird eyebrows (probably) in 'Attack of the Crab Monsters.'\" width=\"446\" height=\"301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-12.01.52-AM.png 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-22-at-12.01.52-AM-160x108.png 160w\" sizes=\"(max-width: 446px) 100vw, 446px\">\u003cfigcaption class=\"wp-caption-text\">Martha stressing about her weird eyebrows (probably) in ‘Attack of the Crab Monsters.’\u003c/figcaption>\u003c/figure>\n\u003cp>Anyway, just like those eyebrows, \u003cem>Attack of the Crab Monsters\u003c/em> tries way, way too hard to justify itself. It could learn a thing or two from our next pick, a 1959 movie that answers the question: What would it look like if a man turned into an alligator, but still managed to keep his snazzy, high-waisted, 1950s pants on? It’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0052549/\" target=\"_blank\" rel=\"noopener noreferrer\">The Alligator People\u003c/a>\u003c/em>!\u003c/p>\n\u003cp>It all begins with Joyce, a woman whose husband, Paul, ditches her literally an hour into their honeymoon. She responds to this by going on a cross-country hunt to track him down. (Have some pride, woman! Just get an annulment and put on some \u003ca href=\"https://www.youtube.com/watch?v=gl1aHhXnN1k\" target=\"_blank\" rel=\"noopener noreferrer\">Ariana Grande\u003c/a>, already!)\u003c/p>\n\u003cp>After arriving in the butt crack of Louisiana, Joyce casually jumps into the truck of a man with a hook hand who enjoys running over alligators and saying menacing things about swamps and quicksand.\u003c/p>\n\u003cp>(Can we just take a timeout here to talk about the fact that, if you were a child growing up anytime between 1920 and 1990, quicksand was presented in popular culture as a constant, imminent threat. Why don’t we ever hear about quicksand anymore? It used to be freakin’ \u003cem>everywhere\u003c/em>.)\u003c/p>\n\u003cp>After arriving totally unannounced at Paul’s family’s house (rude much, Joyce?), Joyce meets Paul’s mom, who has an accent that can’t make up its mind about whether it wants to be Southern, British or Mrs. Doubtfire. Also, Joyce finds a local doctor who dresses like Colonel Sanders and has been doing dodgy experiments on gravely injured people using radiation and alligator DNA. Turns out—*dun-dun-duuuuun!*—Paul is one of them! And now his face is falling off! Or getting scaley! Or both depending on the makeup that day!\u003c/p>\n\u003cp>I don’t want to spoil the ending, but \u003ca href=\"https://www.imdb.com/name/nm0307500/?ref_=tt_cl_t1\" target=\"_blank\" rel=\"noopener noreferrer\">Beverly Garland\u003c/a> has to do a surprising amount of stunt work with living, snapping alligators, and the alligator-man in the pants is a thing of majestic beauty that you’ll never forget.\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/w-lv3OxnnG4'\n title='//www.youtube.com/embed/w-lv3OxnnG4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! April Dates Inspire Spring Streaming",
"headTitle": "Now Playing! April Dates Inspire Spring Streaming | KQED",
"content": "\u003cp>This week’s 4/20 and Earth Day celebrations summarily require the accompaniment of one of the 10 best San Francisco songs of all time. \u003cem>\u003ca href=\"https://youtu.be/Zt83arWRx-M\" rel=\"noopener noreferrer\" target=\"_blank\">Fresh Air\u003c/a>\u003c/em> by Quicksilver Messenger Service, one of the 10 best San Francisco bands of all time, charted five months after the inaugural Earth Day in 1970 with the car-radio-friendly lyric, “Have another hit / of fresh air.” There are other events of note on the calendar as well, whose observation is complemented through the magic of motion pictures.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HLN53S9VRUA\u003c/p>\n\u003cp>\u003cb>Happy Belated Birthday to Charlie Chaplin (April 16)\u003c/b>\u003cbr>\nCharlie Chaplin would have turned 131 this year. The silent-era child actor True Boardman reminisces about his encounters with the immortal Chaplin in one of a series of videos presented by \u003ca href=\"https://www.youtube.com/channel/UC-frNdOCi1vLxQpE2YjlBtQ/featured\" rel=\"noopener noreferrer\" target=\"_blank\">Niles Essanay Silent Film Museum\u003c/a>, the unwavering East Bay institution devoted to preserving the Bay Area’s place in early film history. The most popular video on the Niles YouTube channel, not surprisingly, is entitled “Moviegoing During the 1918 Influenza Outbreak.”\u003c/p>\n\u003cp>\u003cstrong>Holocaust Memorial Day (April 21)\u003c/strong>\u003cbr>\nA few years ago, long before COVID-19 forced the Jewish Film Institute to postpone this year’s San Francisco Jewish Film Festival from July–August to November, the organization compiled a catalog of first-rate films available to stream. Some are free at \u003ca href=\"https://jfi.org/watch-online\" rel=\"noopener noreferrer\" target=\"_blank\">JFI On Demand\u003c/a>, while others require a visit (and perhaps a rental fee) to another platform.\u003c/p>\n\u003cp>https://vimeo.com/200165734\u003c/p>\n\u003cp>Two can’t-miss picks: The remarkable 2017 black-and-white Hungarian drama \u003cem>1945\u003c/em> (on \u003ca href=\"https://www.amazon.com/gp/product/B07HZ4KTZQ\" rel=\"noopener noreferrer\" target=\"_blank\">Amazon Prime\u003c/a>) imagines the dirt kicked up and dug up by the postwar return of a Jewish father and son to a village harboring guilty secrets. \u003cem>Fanny’s Journey\u003c/em> (\u003ca href=\"https://kanopy.com/video/fannys-journey\" rel=\"noopener noreferrer\" target=\"_blank\">Kanopy\u003c/a>), a French escape saga of wartime bravery and resilience released in 2016, is by turns heart-stopping and heart-warming. \u003c/p>\n\u003cp>https://youtu.be/1RQ3yFmDz-E\u003c/p>\n\u003cp>\u003cstrong>Earth Day (April 22) \u003c/strong>\u003cbr>\nNikolaus Geyrhalter’s oeuvre embodies a specifically European approach to documentary that is philosophical and exploratory rather than expository and declarative. His films’ theses gradually emerge via the accretion of breathtaking images. He filmed at seven locations around the globe for his latest, \u003cem>Earth\u003c/em>, streaming now via the \u003ca href=\"https://www.roxie.com/earth/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie Virtual Cinema\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/G-L8mQI1xVg\u003c/p>\n\u003cp>\u003cstrong>Ramadan (begins April 23)\u003c/strong>\u003cbr>\nThe Arab Film and Media Institute has chosen a Jordanian romantic comedy from 2012, \u003cem>When Monaliza Smiled\u003c/em>, to stream April 23 in the \u003ca href=\"https://arabfilminstitute.org/event/arab-film-series-online/\" rel=\"noopener noreferrer\" target=\"_blank\">Arab Film Series Online\u003c/a>. Click through for love, laughs, oddball supporting characters and a city—Amman—we never see on screen. \u003c/p>\n\u003cp>\u003cb>Timeless Subjects for a Limited Time Only \u003c/b>\u003cbr>\nBack in 2007, the innovative San Francisco artist and filmmaker Lynn Hershman Leeson made an atypically accessible documentary about the intersection of science, personal liberties and abusive government power. \u003cem>Strange Culture\u003c/em> recounts and reenacts (with Tilda Swinton and Thomas Jay Ryan) the FBI’s persecution of Buffalo professor and artist Steve Kurtz as a bioterrorist. The \u003ca href=\"https://www.eventbrite.com/e/mcevoy-arts-and-the-roxie-theater-present-strange-culture-tickets-102372304318\" rel=\"noopener noreferrer\" target=\"_blank\">McEvoy Foundation for the Arts\u003c/a> streams \u003cem>Strange Culture\u003c/em> April 23-26 with proceeds going to the Roxie.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xGp3xbbmsWU\u003c/p>\n\u003cp>Thirty years ago, Marin Country filmmakers Nancy Kelly and Kenji Yamamoto pulled off something astonishing: They made a first-rate period Western on a micro-budget. The newly restored \u003cem>\u003ca href=\"https://rafaelfilm.cafilm.org/thousand-pieces-of-gold-home/\" rel=\"noopener noreferrer\" target=\"_blank\">Thousand Pieces of Gold\u003c/a>\u003c/em>, starring then-unknowns Rosalind Chao and Chris Cooper, had its theatrical re-release derailed by the virus. Following a recent screening and Q&A via \u003ca href=\"https://rafaelfilm.cafilm.org\" rel=\"noopener noreferrer\" target=\"_blank\">Rafael@Home\u003c/a>, the Smith Rafael Film Center is on board for an encore presentation culminating on April 26 in a livestream conversation with the creative team.\u003c/p>\n\u003cp>\u003cb>For filmmakers Only (April 30)\u003c/b>\u003cbr>\nRegister now for “Ideas into Action: From Concepts to Treatments to Fully Realized Documentaries,” a virtual workshop with local filmmaker and certified mensch Sam Ball of Citizen Film. Presented by the \u003ca href=\"https://us04web.zoom.us/meeting/register/upUudumopzoiG9Kbpy_cg5tP9HuVBdCTcl6d\" rel=\"noopener noreferrer\" target=\"_blank\">Berkeley Film Foundation\u003c/a>, the seminar (Thursday, April 30, 1–2:30pm) uses Citizen’s docs as case studies in the art of productive, buzzy collaboration. Kind of like Quicksilver, in a way.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week’s 4/20 and Earth Day celebrations summarily require the accompaniment of one of the 10 best San Francisco songs of all time. \u003cem>\u003ca href=\"https://youtu.be/Zt83arWRx-M\" rel=\"noopener noreferrer\" target=\"_blank\">Fresh Air\u003c/a>\u003c/em> by Quicksilver Messenger Service, one of the 10 best San Francisco bands of all time, charted five months after the inaugural Earth Day in 1970 with the car-radio-friendly lyric, “Have another hit / of fresh air.” There are other events of note on the calendar as well, whose observation is complemented through the magic of motion pictures.\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/HLN53S9VRUA'\n title='//www.youtube.com/embed/HLN53S9VRUA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Happy Belated Birthday to Charlie Chaplin (April 16)\u003c/b>\u003cbr>\nCharlie Chaplin would have turned 131 this year. The silent-era child actor True Boardman reminisces about his encounters with the immortal Chaplin in one of a series of videos presented by \u003ca href=\"https://www.youtube.com/channel/UC-frNdOCi1vLxQpE2YjlBtQ/featured\" rel=\"noopener noreferrer\" target=\"_blank\">Niles Essanay Silent Film Museum\u003c/a>, the unwavering East Bay institution devoted to preserving the Bay Area’s place in early film history. The most popular video on the Niles YouTube channel, not surprisingly, is entitled “Moviegoing During the 1918 Influenza Outbreak.”\u003c/p>\n\u003cp>\u003cstrong>Holocaust Memorial Day (April 21)\u003c/strong>\u003cbr>\nA few years ago, long before COVID-19 forced the Jewish Film Institute to postpone this year’s San Francisco Jewish Film Festival from July–August to November, the organization compiled a catalog of first-rate films available to stream. Some are free at \u003ca href=\"https://jfi.org/watch-online\" rel=\"noopener noreferrer\" target=\"_blank\">JFI On Demand\u003c/a>, while others require a visit (and perhaps a rental fee) to another platform.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two can’t-miss picks: The remarkable 2017 black-and-white Hungarian drama \u003cem>1945\u003c/em> (on \u003ca href=\"https://www.amazon.com/gp/product/B07HZ4KTZQ\" rel=\"noopener noreferrer\" target=\"_blank\">Amazon Prime\u003c/a>) imagines the dirt kicked up and dug up by the postwar return of a Jewish father and son to a village harboring guilty secrets. \u003cem>Fanny’s Journey\u003c/em> (\u003ca href=\"https://kanopy.com/video/fannys-journey\" rel=\"noopener noreferrer\" target=\"_blank\">Kanopy\u003c/a>), a French escape saga of wartime bravery and resilience released in 2016, is by turns heart-stopping and heart-warming. \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/1RQ3yFmDz-E'\n title='//www.youtube.com/embed/1RQ3yFmDz-E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Earth Day (April 22) \u003c/strong>\u003cbr>\nNikolaus Geyrhalter’s oeuvre embodies a specifically European approach to documentary that is philosophical and exploratory rather than expository and declarative. His films’ theses gradually emerge via the accretion of breathtaking images. He filmed at seven locations around the globe for his latest, \u003cem>Earth\u003c/em>, streaming now via the \u003ca href=\"https://www.roxie.com/earth/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie Virtual Cinema\u003c/a>.\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/G-L8mQI1xVg'\n title='//www.youtube.com/embed/G-L8mQI1xVg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Ramadan (begins April 23)\u003c/strong>\u003cbr>\nThe Arab Film and Media Institute has chosen a Jordanian romantic comedy from 2012, \u003cem>When Monaliza Smiled\u003c/em>, to stream April 23 in the \u003ca href=\"https://arabfilminstitute.org/event/arab-film-series-online/\" rel=\"noopener noreferrer\" target=\"_blank\">Arab Film Series Online\u003c/a>. Click through for love, laughs, oddball supporting characters and a city—Amman—we never see on screen. \u003c/p>\n\u003cp>\u003cb>Timeless Subjects for a Limited Time Only \u003c/b>\u003cbr>\nBack in 2007, the innovative San Francisco artist and filmmaker Lynn Hershman Leeson made an atypically accessible documentary about the intersection of science, personal liberties and abusive government power. \u003cem>Strange Culture\u003c/em> recounts and reenacts (with Tilda Swinton and Thomas Jay Ryan) the FBI’s persecution of Buffalo professor and artist Steve Kurtz as a bioterrorist. The \u003ca href=\"https://www.eventbrite.com/e/mcevoy-arts-and-the-roxie-theater-present-strange-culture-tickets-102372304318\" rel=\"noopener noreferrer\" target=\"_blank\">McEvoy Foundation for the Arts\u003c/a> streams \u003cem>Strange Culture\u003c/em> April 23-26 with proceeds going to the Roxie.\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/xGp3xbbmsWU'\n title='//www.youtube.com/embed/xGp3xbbmsWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Thirty years ago, Marin Country filmmakers Nancy Kelly and Kenji Yamamoto pulled off something astonishing: They made a first-rate period Western on a micro-budget. The newly restored \u003cem>\u003ca href=\"https://rafaelfilm.cafilm.org/thousand-pieces-of-gold-home/\" rel=\"noopener noreferrer\" target=\"_blank\">Thousand Pieces of Gold\u003c/a>\u003c/em>, starring then-unknowns Rosalind Chao and Chris Cooper, had its theatrical re-release derailed by the virus. Following a recent screening and Q&A via \u003ca href=\"https://rafaelfilm.cafilm.org\" rel=\"noopener noreferrer\" target=\"_blank\">Rafael@Home\u003c/a>, the Smith Rafael Film Center is on board for an encore presentation culminating on April 26 in a livestream conversation with the creative team.\u003c/p>\n\u003cp>\u003cb>For filmmakers Only (April 30)\u003c/b>\u003cbr>\nRegister now for “Ideas into Action: From Concepts to Treatments to Fully Realized Documentaries,” a virtual workshop with local filmmaker and certified mensch Sam Ball of Citizen Film. Presented by the \u003ca href=\"https://us04web.zoom.us/meeting/register/upUudumopzoiG9Kbpy_cg5tP9HuVBdCTcl6d\" rel=\"noopener noreferrer\" target=\"_blank\">Berkeley Film Foundation\u003c/a>, the seminar (Thursday, April 30, 1–2:30pm) uses Citizen’s docs as case studies in the art of productive, buzzy collaboration. Kind of like Quicksilver, in a way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Happy 150th! A Brief History of Golden Gate Park in the Movies",
"headTitle": "Happy 150th! A Brief History of Golden Gate Park in the Movies | KQED",
"content": "\u003cp>Iconic San Francisco landscapes have long been used to enhance scenes on the silver screen. What would \u003cem>Bullitt\u003c/em> be without Steve McQueen careering \u003ca href=\"https://www.youtube.com/watch?v=FJZ-BHBKyos\" target=\"_blank\" rel=\"noopener noreferrer\">up and down the city’s distinctive hills\u003c/a> in his ’68 Mustang? Or \u003cem>Vertigo\u003c/em> without Kim Novak’s \u003ca href=\"https://www.youtube.com/watch?v=B8cWjLMuJgo\" target=\"_blank\" rel=\"noopener noreferrer\">dramatic plunge\u003c/a> into the Bay beneath the Golden Gate Bridge? And how could \u003cem>The Rock\u003c/em> exist without an \u003ca href=\"https://www.youtube.com/watch?v=aEt1ePZGHTY\" target=\"_blank\" rel=\"noopener noreferrer\">exploding Alcatraz\u003c/a>?\u003c/p>\n\u003cp>In its 150 years, Golden Gate Park has played host to its fair share of memorable cinematic moments, starting all the way back in 1915 with Charlie Chaplin’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0005571/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">A Jitney Elopement\u003c/a>\u003c/em>. The silent film gave us the first ever San Francisco movie car chase, and it happened directly in front of the Murphy Windmill that stands at the western edge of the park to this day. After an old-timey sideshow, Chaplin speeds off up a dirt road that would later become the Great Highway.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IiTaPSlFUdE\u003c/p>\n\u003cp>That same year, the 13-minute Roscoe “Fatty” Arbuckle caper \u003ca href=\"https://www.imdb.com/title/tt0006296/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Wished on Mabel\u003c/em>\u003c/a> took a tour of some of the most romantic locations in the park: the Conservatory of Flowers, Stow Lake Bridge, Strawberry Hill’s waterfall and, finally, the stone path around Stow Lake, where Fatty and Mabel share a smooch.\u003c/p>\n\u003cfigure id=\"attachment_13876023\" class=\"wp-caption aligncenter\" style=\"max-width: 424px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876023\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/67057765_1071627726381433_7278911303958134784_n.jpg\" alt=\"Roscoe "Fatty" Arbuckle and Mabel Normand at Stow Lake in 'Wished on Mabel,' 1915; the stepping stone path today.\" width=\"424\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67057765_1071627726381433_7278911303958134784_n.jpg 424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67057765_1071627726381433_7278911303958134784_n-160x362.jpg 160w\" sizes=\"(max-width: 424px) 100vw, 424px\">\u003cfigcaption class=\"wp-caption-text\">Roscoe “Fatty” Arbuckle and Mabel Normand at Stow Lake in ‘Wished on Mabel,’ 1915; the stepping stone path today. \u003ccite>(Screenshots and photo courtesy of Tim Welsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No movie has better utilized Golden Gate Park as a romantic prop though, than \u003ca href=\"https://www.imdb.com/title/tt0209475/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Wedding Planner\u003c/em>\u003c/a>. In it, Mary (Jennifer Lopez) and Steve (Matthew McConaughey) first fall for each other at a movie night at the park’s Music Concourse. (There’s a dance routine, a Ferris wheel and a rainstorm involved, naturally.) Later in the movie, when Steve attempts to comfort a crying Mary, he does so by saying, “D’you ever think about that night in the park? I do. All the time.” The couple return to the scene of their initial flirtations for the film’s finale.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 2001 rom-com also manages to include the single most popular movie location in all of Golden Gate Park—the Japanese Tea Gardens. In \u003cem>The Wedding Planner\u003c/em>, it’s where Steve breaks up with his fiancée after realizing that Mary is The One, but the picturesque spot in the park’s northeast corner has also found its way into \u003ca href=\"https://www.youtube.com/watch?v=MyzSuy1v6DM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Memoirs of a Geisha\u003c/em>\u003c/a> (2005), \u003ca href=\"https://www.youtube.com/watch?v=MS9Fe-ebUaA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Petulia\u003c/em>\u003c/a> (1968) and noir-thrillers, \u003ca href=\"https://www.youtube.com/watch?v=bG8xNHpstUA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Portrait in Black\u003c/em>\u003c/a> (1960) and \u003ca href=\"https://www.imdb.com/title/tt0113451/locations#filming_locations\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Jade\u003c/em>\u003c/a> (1995).\u003c/p>\n\u003cfigure id=\"attachment_13876038\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876038\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/tea-gardens-800x800.jpg\" alt=\"Scenes from Golden Gate Park's Japanese Tea Garden in (above) 'Portrait in Black' (1960) and (below) 'Memoirs of a Geisha' (2005).\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scenes from Golden Gate Park’s Japanese Tea Garden in (above) ‘Portrait in Black’ (1960) and (below) ‘Memoirs of a Geisha’ (2005). \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking of noir, 1958’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0051866/?ref_=fn_al_tt_4\" target=\"_blank\" rel=\"noopener noreferrer\">The Lineup\u003c/a>\u003c/em>—about heroin smugglers trying to retrieve packages from unsuspecting tourists—features the park’s Steinhart Aquarium (inside the California Academy of Sciences) as a murky backdrop to one such encounter. It’s possible that director Don Siegel took a cue from Orson Welles’ brooding \u003ca href=\"https://www.imdb.com/title/tt0040525/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Lady From Shanghai\u003c/em>\u003c/a> (1947), in which Michael (played by Welles) uses the aquarium to meet his secret lover Elsa (Rita Hayworth). [aside postid='arts_13878883']\u003c/p>\n\u003cp>The scene is memorably foreboding, not just because Welles and Hayworth were on the verge of real-life divorce at the time, but also because they’re surrounded by ominous-looking sea creatures, enlarged and distorted in the tanks behind them.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nSvY8KcES5E\u003c/p>\n\u003cp>In happier representations, Golden Gate Park is often the backdrop to new romance. Just as the Music Concourse marked the beginning of Steve and Mary’s relationship in \u003cem>The Wedding Planner\u003c/em>, it’s one of the first places we see Sasha (Ali Wong) and Marcus (Randall Park) as a couple in \u003ca href=\"https://www.netflix.com/title/80202874\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Always Be My Maybe\u003c/em>\u003c/a>. (They also visit the de Young.) Additionally, in 1972’s \u003ca href=\"https://www.imdb.com/title/tt0069097/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Play it Again, Sam\u003c/em>\u003c/a>, Allan (Woody Allen) and Linda (Diane Keaton) make dinner plans on the Music Concourse’s green benches, a date that transforms their relationship from platonic to passionate.\u003c/p>\n\u003cp>Woody Allen gravitated towards Golden Gate Park as a romantic location on more than one occasion. For his first movie, 1969’s \u003ca href=\"https://www.imdb.com/title/tt0065063/?ref_=ttfc_fc_tt\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Take The Money and Run\u003c/em>\u003c/a>, his character Virgil, a petty thief, favors the park as a location to \u003ca href=\"https://www.youtube.com/watch?v=XSKOGevWNqc\" target=\"_blank\" rel=\"noopener noreferrer\">steal women’s purses\u003c/a>. After he attempts to snatch a bag from Louise (Janet Margolin), romance blossoms. (This is a Woody Allen film, after all…)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sexnKfuSHcg\u003c/p>\n\u003cp>Not that Golden Gate Park is a stranger to action. In \u003cem>Dirty Harry\u003c/em>, Clint Eastwood takes down a deranged serial killer inside the park’s 10,000-seater \u003ca href=\"https://www.youtube.com/watch?v=-GvNc24yQZA\" target=\"_blank\" rel=\"noopener noreferrer\">Kezar Stadium\u003c/a>. And in 1952’s \u003cem>Scaramouche\u003c/em>, Andre Moreau (played by Stewart Granger) is seen riding around the park on horseback, as he seeks vengeance against the swordsman who killed his friend.\u003c/p>\n\u003cfigure id=\"attachment_13876027\" class=\"wp-caption aligncenter\" style=\"max-width: 627px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876027\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/67325979_891299174590613_5466619625431105536_n.jpg\" alt=\"Stewart Granger under the Stow Lake bridge in 'Scaramouche' (1952), and the bridge today.\" width=\"627\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67325979_891299174590613_5466619625431105536_n.jpg 627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67325979_891299174590613_5466619625431105536_n-160x245.jpg 160w\" sizes=\"(max-width: 627px) 100vw, 627px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Granger under the Stow Lake bridge in ‘Scaramouche’ (1952), and the bridge today. \u003ccite>(Screenshots and photo courtesy of Tim Welsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The park was used in several \u003cem>Scaramouche\u003c/em> scenes despite the film’s setting of 18th-century France. In \u003ci>Memoirs of a Geisha\u003c/i>, the Tea Garden stood in for a school in 1930s Japan. Conversely, not all movies purporting to be in Golden Gate Park are actually filmed there. In Mel Brooks’ 1972 spoof, \u003cem>High Anxiety\u003c/em>, his famous \u003ca href=\"https://www.youtube.com/watch?v=e5-HNt_kupk\" target=\"_blank\" rel=\"noopener noreferrer\">parody of \u003cem>The Birds\u003c/em>\u003c/a> occurs directly after he claims to be “in the Golden Gate Park… at the north by northwest corner.” Brooks was, in fact, \u003ca href=\"https://www.movie-locations.com/movies/h/High-Anxiety.php\" target=\"_blank\" rel=\"noopener noreferrer\">in Pasadena\u003c/a>.\u003c/p>\n\u003cp>Golden Gate Park is so expansive, and its environments so varied, that movies of nearly every genre have found their backdrops within it for over 100 years. And though we’ve yet to see a sci-fi flick filmed there, perhaps \u003cem>The Matrix 4\u003c/em> and \u003cem>Venom 2—\u003c/em>both recently spotted filming on location around the city—will change that. (After all, Netflix sci-fi series \u003cem>Sense8\u003c/em> has scenes in the Japanese Tea Garden and Music Concourse.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy 150th, Golden Gate Park! Here’s to another century of movie magic.\u003c/p>\n\n",
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"excerpt": "Charlie Chaplin car chases, Jennifer Lopez romances—these are the most iconic scenes filmed in Golden Gate Park.",
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"description": "Charlie Chaplin car chases, Jennifer Lopez romances—these are the most iconic scenes filmed in Golden Gate Park.",
"title": "Happy 150th! A Brief History of Golden Gate Park in the Movies | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Iconic San Francisco landscapes have long been used to enhance scenes on the silver screen. What would \u003cem>Bullitt\u003c/em> be without Steve McQueen careering \u003ca href=\"https://www.youtube.com/watch?v=FJZ-BHBKyos\" target=\"_blank\" rel=\"noopener noreferrer\">up and down the city’s distinctive hills\u003c/a> in his ’68 Mustang? Or \u003cem>Vertigo\u003c/em> without Kim Novak’s \u003ca href=\"https://www.youtube.com/watch?v=B8cWjLMuJgo\" target=\"_blank\" rel=\"noopener noreferrer\">dramatic plunge\u003c/a> into the Bay beneath the Golden Gate Bridge? And how could \u003cem>The Rock\u003c/em> exist without an \u003ca href=\"https://www.youtube.com/watch?v=aEt1ePZGHTY\" target=\"_blank\" rel=\"noopener noreferrer\">exploding Alcatraz\u003c/a>?\u003c/p>\n\u003cp>In its 150 years, Golden Gate Park has played host to its fair share of memorable cinematic moments, starting all the way back in 1915 with Charlie Chaplin’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0005571/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">A Jitney Elopement\u003c/a>\u003c/em>. The silent film gave us the first ever San Francisco movie car chase, and it happened directly in front of the Murphy Windmill that stands at the western edge of the park to this day. After an old-timey sideshow, Chaplin speeds off up a dirt road that would later become the Great Highway.\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/IiTaPSlFUdE'\n title='//www.youtube.com/embed/IiTaPSlFUdE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That same year, the 13-minute Roscoe “Fatty” Arbuckle caper \u003ca href=\"https://www.imdb.com/title/tt0006296/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Wished on Mabel\u003c/em>\u003c/a> took a tour of some of the most romantic locations in the park: the Conservatory of Flowers, Stow Lake Bridge, Strawberry Hill’s waterfall and, finally, the stone path around Stow Lake, where Fatty and Mabel share a smooch.\u003c/p>\n\u003cfigure id=\"attachment_13876023\" class=\"wp-caption aligncenter\" style=\"max-width: 424px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876023\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/67057765_1071627726381433_7278911303958134784_n.jpg\" alt=\"Roscoe "Fatty" Arbuckle and Mabel Normand at Stow Lake in 'Wished on Mabel,' 1915; the stepping stone path today.\" width=\"424\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67057765_1071627726381433_7278911303958134784_n.jpg 424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67057765_1071627726381433_7278911303958134784_n-160x362.jpg 160w\" sizes=\"(max-width: 424px) 100vw, 424px\">\u003cfigcaption class=\"wp-caption-text\">Roscoe “Fatty” Arbuckle and Mabel Normand at Stow Lake in ‘Wished on Mabel,’ 1915; the stepping stone path today. \u003ccite>(Screenshots and photo courtesy of Tim Welsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No movie has better utilized Golden Gate Park as a romantic prop though, than \u003ca href=\"https://www.imdb.com/title/tt0209475/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Wedding Planner\u003c/em>\u003c/a>. In it, Mary (Jennifer Lopez) and Steve (Matthew McConaughey) first fall for each other at a movie night at the park’s Music Concourse. (There’s a dance routine, a Ferris wheel and a rainstorm involved, naturally.) Later in the movie, when Steve attempts to comfort a crying Mary, he does so by saying, “D’you ever think about that night in the park? I do. All the time.” The couple return to the scene of their initial flirtations for the film’s finale.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 2001 rom-com also manages to include the single most popular movie location in all of Golden Gate Park—the Japanese Tea Gardens. In \u003cem>The Wedding Planner\u003c/em>, it’s where Steve breaks up with his fiancée after realizing that Mary is The One, but the picturesque spot in the park’s northeast corner has also found its way into \u003ca href=\"https://www.youtube.com/watch?v=MyzSuy1v6DM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Memoirs of a Geisha\u003c/em>\u003c/a> (2005), \u003ca href=\"https://www.youtube.com/watch?v=MS9Fe-ebUaA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Petulia\u003c/em>\u003c/a> (1968) and noir-thrillers, \u003ca href=\"https://www.youtube.com/watch?v=bG8xNHpstUA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Portrait in Black\u003c/em>\u003c/a> (1960) and \u003ca href=\"https://www.imdb.com/title/tt0113451/locations#filming_locations\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Jade\u003c/em>\u003c/a> (1995).\u003c/p>\n\u003cfigure id=\"attachment_13876038\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876038\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/tea-gardens-800x800.jpg\" alt=\"Scenes from Golden Gate Park's Japanese Tea Garden in (above) 'Portrait in Black' (1960) and (below) 'Memoirs of a Geisha' (2005).\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/tea-gardens-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scenes from Golden Gate Park’s Japanese Tea Garden in (above) ‘Portrait in Black’ (1960) and (below) ‘Memoirs of a Geisha’ (2005). \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking of noir, 1958’s \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0051866/?ref_=fn_al_tt_4\" target=\"_blank\" rel=\"noopener noreferrer\">The Lineup\u003c/a>\u003c/em>—about heroin smugglers trying to retrieve packages from unsuspecting tourists—features the park’s Steinhart Aquarium (inside the California Academy of Sciences) as a murky backdrop to one such encounter. It’s possible that director Don Siegel took a cue from Orson Welles’ brooding \u003ca href=\"https://www.imdb.com/title/tt0040525/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Lady From Shanghai\u003c/em>\u003c/a> (1947), in which Michael (played by Welles) uses the aquarium to meet his secret lover Elsa (Rita Hayworth). \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The scene is memorably foreboding, not just because Welles and Hayworth were on the verge of real-life divorce at the time, but also because they’re surrounded by ominous-looking sea creatures, enlarged and distorted in the tanks behind them.\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/nSvY8KcES5E'\n title='//www.youtube.com/embed/nSvY8KcES5E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In happier representations, Golden Gate Park is often the backdrop to new romance. Just as the Music Concourse marked the beginning of Steve and Mary’s relationship in \u003cem>The Wedding Planner\u003c/em>, it’s one of the first places we see Sasha (Ali Wong) and Marcus (Randall Park) as a couple in \u003ca href=\"https://www.netflix.com/title/80202874\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Always Be My Maybe\u003c/em>\u003c/a>. (They also visit the de Young.) Additionally, in 1972’s \u003ca href=\"https://www.imdb.com/title/tt0069097/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Play it Again, Sam\u003c/em>\u003c/a>, Allan (Woody Allen) and Linda (Diane Keaton) make dinner plans on the Music Concourse’s green benches, a date that transforms their relationship from platonic to passionate.\u003c/p>\n\u003cp>Woody Allen gravitated towards Golden Gate Park as a romantic location on more than one occasion. For his first movie, 1969’s \u003ca href=\"https://www.imdb.com/title/tt0065063/?ref_=ttfc_fc_tt\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Take The Money and Run\u003c/em>\u003c/a>, his character Virgil, a petty thief, favors the park as a location to \u003ca href=\"https://www.youtube.com/watch?v=XSKOGevWNqc\" target=\"_blank\" rel=\"noopener noreferrer\">steal women’s purses\u003c/a>. After he attempts to snatch a bag from Louise (Janet Margolin), romance blossoms. (This is a Woody Allen film, after all…)\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/sexnKfuSHcg'\n title='//www.youtube.com/embed/sexnKfuSHcg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not that Golden Gate Park is a stranger to action. In \u003cem>Dirty Harry\u003c/em>, Clint Eastwood takes down a deranged serial killer inside the park’s 10,000-seater \u003ca href=\"https://www.youtube.com/watch?v=-GvNc24yQZA\" target=\"_blank\" rel=\"noopener noreferrer\">Kezar Stadium\u003c/a>. And in 1952’s \u003cem>Scaramouche\u003c/em>, Andre Moreau (played by Stewart Granger) is seen riding around the park on horseback, as he seeks vengeance against the swordsman who killed his friend.\u003c/p>\n\u003cfigure id=\"attachment_13876027\" class=\"wp-caption aligncenter\" style=\"max-width: 627px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876027\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/67325979_891299174590613_5466619625431105536_n.jpg\" alt=\"Stewart Granger under the Stow Lake bridge in 'Scaramouche' (1952), and the bridge today.\" width=\"627\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67325979_891299174590613_5466619625431105536_n.jpg 627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/67325979_891299174590613_5466619625431105536_n-160x245.jpg 160w\" sizes=\"(max-width: 627px) 100vw, 627px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Granger under the Stow Lake bridge in ‘Scaramouche’ (1952), and the bridge today. \u003ccite>(Screenshots and photo courtesy of Tim Welsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The park was used in several \u003cem>Scaramouche\u003c/em> scenes despite the film’s setting of 18th-century France. In \u003ci>Memoirs of a Geisha\u003c/i>, the Tea Garden stood in for a school in 1930s Japan. Conversely, not all movies purporting to be in Golden Gate Park are actually filmed there. In Mel Brooks’ 1972 spoof, \u003cem>High Anxiety\u003c/em>, his famous \u003ca href=\"https://www.youtube.com/watch?v=e5-HNt_kupk\" target=\"_blank\" rel=\"noopener noreferrer\">parody of \u003cem>The Birds\u003c/em>\u003c/a> occurs directly after he claims to be “in the Golden Gate Park… at the north by northwest corner.” Brooks was, in fact, \u003ca href=\"https://www.movie-locations.com/movies/h/High-Anxiety.php\" target=\"_blank\" rel=\"noopener noreferrer\">in Pasadena\u003c/a>.\u003c/p>\n\u003cp>Golden Gate Park is so expansive, and its environments so varied, that movies of nearly every genre have found their backdrops within it for over 100 years. And though we’ve yet to see a sci-fi flick filmed there, perhaps \u003cem>The Matrix 4\u003c/em> and \u003cem>Venom 2—\u003c/em>both recently spotted filming on location around the city—will change that. (After all, Netflix sci-fi series \u003cem>Sense8\u003c/em> has scenes in the Japanese Tea Garden and Music Concourse.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy 150th, Golden Gate Park! Here’s to another century of movie magic.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lockdown Movie Musts: 1960s Beach Party Preposterousness",
"headTitle": "Lockdown Movie Musts: 1960s Beach Party Preposterousness | KQED",
"content": "\u003cp>Welcome to week four of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>, a series exploring weird subgenres of yore guaranteed to make you feel like you left the house for more than ten minutes!\u003c/p>\n\u003cp>Remember \u003ca href=\"https://www.cbsnews.com/news/spring-break-party-coronavirus-pandemic-miami-beaches/\" target=\"_blank\" rel=\"noopener noreferrer\">that footage\u003c/a> from a few weeks ago? When that Spring Breaker in Miami told a news crew: “If I get corona, I get corona. At the end of the day, I’m not gonna let it stop me from partying”? This week, I went in search of the source of such stupidity and found 1960’s \u003ca href=\"https://www.imdb.com/title/tt0054469/fullcredits/?ref_=tt_ov_st_sm\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Where The Boys Are\u003c/em>\u003c/a>! This vacation romp has the distinction of being Patient Zero for both the raging popularity of American college students’ spring break vacations (nobody beyond the northeast went on those until this movie came out), \u003cem>and\u003c/em> the beach party movies that infested the rest of the decade. (\u003cem>Where The Boys Are\u003c/em> has an awful lot to answer for…) [aside postid='arts_13877955']\u003c/p>\n\u003cp>The college ladies of \u003cem>Where The Boys Are\u003c/em> are a likable bunch, even though they say things like “Girls like me weren’t built to get educated, we were meant to have children!” and “What is he? Queer for hats?” and “No girl enjoys being considered promiscuous, even those who might be!” It speaks to the awesomeness of their swimsuits that they can say all of these things and remain perfectly watchable.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tKyZKNNWngo\u003c/p>\n\u003cp>The ladies, despite also owning a wide range of excellent dresses, all consistently punch below their weight when it comes to men. There’s George Hamilton in short-shorts who confuses owning a boat for having a personality. There’s a pretentious jazz musician Connie Francis is so eager to impress, she spontaneously breaks into song in the middle of a bar (called the Elbo Room, incidentally). There’s even a literal rapist! (Way to totally go dark, \u003cem>Where the Boys Are\u003c/em>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then there’s poor, gorgeous Paula Prentiss who puts up with this crap because all men other than this guy (his name is TV) think she’s too tall:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=86nYcG-sz0k\u003c/p>\n\u003cp>(Can we bring back swimming tank shows in restaurants when this is all over please?)\u003c/p>\n\u003cp>Still, the godawful men of \u003cem>Where The Boys Are\u003c/em> seem like dreamboats (except for the rapist, obvi) when lined up next to the douche-lords of 1964’s \u003cem>Bikini Beach\u003c/em>. [aside postid='arts_13877402']\u003c/p>\n\u003cp>Frankie Avalon stars here as a raging egomaniac with a chip on his shoulder who’s in romantic competition with a pop sensation named The Potato Bug. The Potato Bug is a snarky composite of all of the Beatles, and is played by (no, really) Frankie Avalon in a wig and glasses. Words cannot express how unfunny it all is, but just imagine \u003cem>Austin Powers\u003c/em> with no jokes and less style and that’s pretty close.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lL0zQklrDL0&t=41s\u003c/p>\n\u003cp>Here’s everything you need to know about \u003cem>Bikini Beach\u003c/em>. Everyone runs everywhere all of the time. Frankie’s girl Dee Dee (played by Annette Funicello) wears a weird toupee on top of her regular hair and we’re not supposed to notice. Candy, a woman who only wears outfits with red tassels on them, makes men fall down when she shakes her ass. There’s a biker guy whose whole body freezes when he points at his own head. (I’d rather not get into it…) There’s Don Rickles as a bar/drag strip owner. (I’d rather not get into it…) And there’s a posh older guy with a surfing chimp (I’d definitely rather not get into it…) trying to get the kids off the beach.\u003c/p>\n\u003cp>\u003cem>Bikini Beach\u003c/em> was the third in a \u003ca href=\"https://en.wikipedia.org/wiki/Beach_party_film\" target=\"_blank\" rel=\"noopener noreferrer\">(\u003cem>long\u003c/em>) series\u003c/a> of beach party movies starring “Frankie and Annette” and the highest grossing of them all. Which boggles the mind because it is so incredibly dumb, I literally felt my IQ dropping as I watched it. Even an \u003ca href=\"https://www.youtube.com/watch?v=lL0zQklrDL0\" target=\"_blank\" rel=\"noopener noreferrer\">appearance by “Little Stevie Wonder”\u003c/a> couldn’t save this thing. [aside postid='arts_13878444']\u003c/p>\n\u003cp>1966’s \u003ca href=\"https://www.imdb.com/title/tt0060807/fullcredits/?ref_=tt_ov_st_sm\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Out of Sight\u003c/em>\u003c/a> does a much better job of being stupid, thanks to stylistic cues from \u003ca href=\"https://en.wikipedia.org/wiki/The_Monkees_(TV_series)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Monkees\u003c/em>\u003c/a> and \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Avengers_(TV_series)\" target=\"_blank\" rel=\"noopener noreferrer\">The Avengers\u003c/a>\u003c/em>, a plot involving secret agents and a series of bombshell lady-villains (called things like Scuba, Turbo and Wipeout!). There are secret labs and comedy bombs and slapstick violence and bouts of slow motion volleyball. There are death rays and musical torture devices and many scenes of unfiltered young-person-joy. I cannot overstate how much easier it is to watch than \u003cem>Bikini Beach\u003c/em>.\u003c/p>\n\u003cp>Best of all, there are constant gratuitous musical interludes. Why are The Turtles and The Astronauts and The Knickerbockers always just hanging around playing music for these beautiful idiots? Nobody ever says and it really doesn’t matter! \u003cem>Out of Sight\u003c/em> is at its best when music is happening, and if you don’t believe me, let me leave you with this most perfect of moments.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XOBa0Zs0pAw\u003c/p>\n\u003cp>Beach party movies: Come for the music, stay for the girls doing dance-karate on the beach.\u003c/p>\n\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "This week, our mental escape from COVID-19 comes in the form of 'Out of Sight,' 'Bikini Beach' and 'Where the Boys Are.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to week four of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>, a series exploring weird subgenres of yore guaranteed to make you feel like you left the house for more than ten minutes!\u003c/p>\n\u003cp>Remember \u003ca href=\"https://www.cbsnews.com/news/spring-break-party-coronavirus-pandemic-miami-beaches/\" target=\"_blank\" rel=\"noopener noreferrer\">that footage\u003c/a> from a few weeks ago? When that Spring Breaker in Miami told a news crew: “If I get corona, I get corona. At the end of the day, I’m not gonna let it stop me from partying”? This week, I went in search of the source of such stupidity and found 1960’s \u003ca href=\"https://www.imdb.com/title/tt0054469/fullcredits/?ref_=tt_ov_st_sm\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Where The Boys Are\u003c/em>\u003c/a>! This vacation romp has the distinction of being Patient Zero for both the raging popularity of American college students’ spring break vacations (nobody beyond the northeast went on those until this movie came out), \u003cem>and\u003c/em> the beach party movies that infested the rest of the decade. (\u003cem>Where The Boys Are\u003c/em> has an awful lot to answer for…) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The college ladies of \u003cem>Where The Boys Are\u003c/em> are a likable bunch, even though they say things like “Girls like me weren’t built to get educated, we were meant to have children!” and “What is he? Queer for hats?” and “No girl enjoys being considered promiscuous, even those who might be!” It speaks to the awesomeness of their swimsuits that they can say all of these things and remain perfectly watchable.\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/tKyZKNNWngo'\n title='//www.youtube.com/embed/tKyZKNNWngo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The ladies, despite also owning a wide range of excellent dresses, all consistently punch below their weight when it comes to men. There’s George Hamilton in short-shorts who confuses owning a boat for having a personality. There’s a pretentious jazz musician Connie Francis is so eager to impress, she spontaneously breaks into song in the middle of a bar (called the Elbo Room, incidentally). There’s even a literal rapist! (Way to totally go dark, \u003cem>Where the Boys Are\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then there’s poor, gorgeous Paula Prentiss who puts up with this crap because all men other than this guy (his name is TV) think she’s too tall:\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/86nYcG-sz0k'\n title='//www.youtube.com/embed/86nYcG-sz0k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>(Can we bring back swimming tank shows in restaurants when this is all over please?)\u003c/p>\n\u003cp>Still, the godawful men of \u003cem>Where The Boys Are\u003c/em> seem like dreamboats (except for the rapist, obvi) when lined up next to the douche-lords of 1964’s \u003cem>Bikini Beach\u003c/em>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Frankie Avalon stars here as a raging egomaniac with a chip on his shoulder who’s in romantic competition with a pop sensation named The Potato Bug. The Potato Bug is a snarky composite of all of the Beatles, and is played by (no, really) Frankie Avalon in a wig and glasses. Words cannot express how unfunny it all is, but just imagine \u003cem>Austin Powers\u003c/em> with no jokes and less style and that’s pretty close.\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/lL0zQklrDL0'\n title='//www.youtube.com/embed/lL0zQklrDL0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here’s everything you need to know about \u003cem>Bikini Beach\u003c/em>. Everyone runs everywhere all of the time. Frankie’s girl Dee Dee (played by Annette Funicello) wears a weird toupee on top of her regular hair and we’re not supposed to notice. Candy, a woman who only wears outfits with red tassels on them, makes men fall down when she shakes her ass. There’s a biker guy whose whole body freezes when he points at his own head. (I’d rather not get into it…) There’s Don Rickles as a bar/drag strip owner. (I’d rather not get into it…) And there’s a posh older guy with a surfing chimp (I’d definitely rather not get into it…) trying to get the kids off the beach.\u003c/p>\n\u003cp>\u003cem>Bikini Beach\u003c/em> was the third in a \u003ca href=\"https://en.wikipedia.org/wiki/Beach_party_film\" target=\"_blank\" rel=\"noopener noreferrer\">(\u003cem>long\u003c/em>) series\u003c/a> of beach party movies starring “Frankie and Annette” and the highest grossing of them all. Which boggles the mind because it is so incredibly dumb, I literally felt my IQ dropping as I watched it. Even an \u003ca href=\"https://www.youtube.com/watch?v=lL0zQklrDL0\" target=\"_blank\" rel=\"noopener noreferrer\">appearance by “Little Stevie Wonder”\u003c/a> couldn’t save this thing. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>1966’s \u003ca href=\"https://www.imdb.com/title/tt0060807/fullcredits/?ref_=tt_ov_st_sm\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Out of Sight\u003c/em>\u003c/a> does a much better job of being stupid, thanks to stylistic cues from \u003ca href=\"https://en.wikipedia.org/wiki/The_Monkees_(TV_series)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Monkees\u003c/em>\u003c/a> and \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Avengers_(TV_series)\" target=\"_blank\" rel=\"noopener noreferrer\">The Avengers\u003c/a>\u003c/em>, a plot involving secret agents and a series of bombshell lady-villains (called things like Scuba, Turbo and Wipeout!). There are secret labs and comedy bombs and slapstick violence and bouts of slow motion volleyball. There are death rays and musical torture devices and many scenes of unfiltered young-person-joy. I cannot overstate how much easier it is to watch than \u003cem>Bikini Beach\u003c/em>.\u003c/p>\n\u003cp>Best of all, there are constant gratuitous musical interludes. Why are The Turtles and The Astronauts and The Knickerbockers always just hanging around playing music for these beautiful idiots? Nobody ever says and it really doesn’t matter! \u003cem>Out of Sight\u003c/em> is at its best when music is happening, and if you don’t believe me, let me leave you with this most perfect of moments.\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/XOBa0Zs0pAw'\n title='//www.youtube.com/embed/XOBa0Zs0pAw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Beach party movies: Come for the music, stay for the girls doing dance-karate on the beach.\u003c/p>\n\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Stream Locally, Think Globally",
"headTitle": "Now Playing! Stream Locally, Think Globally | KQED",
"content": "\u003cp>When Bruce Baillie died on April 10 at his Washington state home at the age of 88, the curtain also dropped on an influential yet seat-of-the-pants era in Bay Area avant-garde film. \u003c/p>\n\u003cp>A South Dakotan who studied in Minnesota, London and Yugoslavia, Baillie migrated here in the late ’50s and set about teaching himself cinematography and editing. In tandem with making films of uncommon beauty and grace, he founded \u003ca href=\"http://canyoncinema.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Canyon Cinema\u003c/a> (to screen and eventually distribute his and fellow artists’ films) and co-founded \u003ca href=\"https://www.sfcinematheque.org/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Cinematheque\u003c/a>.\u003c/p>\n\u003cp>“Immediately, I realized that making films and showing films must go hand in hand,” Baillie recalled in a 1989 conversation with experimental-film historian and critic Scott MacDonald, “so [in 1960] I got a job at Safeway, took out a loan and bought a projector. We got an army surplus screen and hung it up real nice in the backyard of this house we were renting. Then we’d find whatever films we could, including our own little things that were in progress—‘we,’ there wasn’t really any we, just me for a while—and show them.”\u003c/p>\n\u003cp>Baillie’s films evince his unique eye and sensibility yet generously allow ample room for the viewer’s experience. Revisit \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0060220\" rel=\"noopener noreferrer\" target=\"_blank\">Castro Street\u003c/a>\u003c/em> (1966), shot largely in Richmond and redolent with train whistles and train tracks, evoking both night dreams and daydreams of an America to be explored \u003cem>just out there\u003c/em>. “For Baillie,” MacDonald wrote, “the filmstrip is a space where the physical world around him and the spiritual world within him can intersect.” \u003c/p>\n\u003cfigure id=\"attachment_13878833\" class=\"wp-caption aligncenter\" style=\"max-width: 1320px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740.jpg\" alt=\"\" width=\"1320\" height=\"740\" class=\"size-full wp-image-13878833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740.jpg 1320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740-1020x572.jpg 1020w\" sizes=\"(max-width: 1320px) 100vw, 1320px\">\u003cfigcaption class=\"wp-caption-text\">Still from Karly Stark’s ‘the problem is that everything is fleeting,’ 2015. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SF Cinematheque, for its part, continues to champion the handmade films of avant-garde artists, and is one of several local institutions streaming new and recent work for free while theater spaces are shuttered. The short-film compilation \u003cem>\u003ca href=\"http://www.sfcinematheque.org/video-programs/certainty-is-becoming-our-nemesis/\" rel=\"noopener noreferrer\" target=\"_blank\">certainty is becoming our nemesis\u003c/a>\u003c/em>, which screened in conjunction with the \u003cem>\u003ca href=\"https://www.mcevoyarts.org/exhibition/orlando/\" rel=\"noopener noreferrer\" target=\"_blank\">Orlando\u003c/a>\u003c/em> exhibition curated by Tilda Swinton at McEvoy Foundation for the Arts until shelter-in-place orders went into effect, has moved online through May 2. From the morphing nude portraits of Alice Anne Parker’s \u003cem>Riverbody\u003c/em> (1970) to Karly Stark’s onscreen pondering of \u003cem>the problem is that everything is fleeting\u003c/em> (2015), the program embraces flux and fluidity—which makes it even more on point than curator Steve Polta could have imagined.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>SF Cinematheque has also teamed with Yerba Buena Center for the Arts and Video Data Bank on \u003cem>\u003ca href=\"http://www.sfcinematheque.org/video-programs/i-hate-the-internet/\" rel=\"noopener noreferrer\" target=\"_blank\">I Hate the Internet: Techno-Dystopian Malaise and Visions of Rebellion\u003c/a>\u003c/em>, a program of apocalypse-now-and-in-the-future shorts, online through May 16. Jesse McLean’s \u003cem>The Invisible World\u003c/em> (2012), with its probing of our relationship to common household objects, may be especially poignant for viewers who catch themselves staring at a drawer of silverware or plastic wrap and contemplating the inner lives of inanimate objects.\u003c/p>\n\u003cp>SFMOMA has initiated a smattering of online screenings in its #MuseumFromHome program, with local sound-and-image artist Bill Fontana’s entrancing \u003cem>\u003ca href=\"http://www.sfmoma.org/watch/museumfromhome-online-screenings/\" rel=\"noopener noreferrer\" target=\"_blank\">White Motions\u003c/a>\u003c/em> (2017) (headphones essential!) on view through April 21. Bookmark the page as a different film goes up every Wednesday.\u003c/p>\n\u003cp>In lieu of its sadly canceled festival, which would otherwise be unspooling right now, SFFILM offers a couple of online options under the rubric “SFFILM at Home.” A veritable flock of filmmakers whose new work was scheduled to play the festival have recorded video profiles, which you can browse at \u003ca href=\"https://sffilm.org/meet-the-filmmakers/\" rel=\"noopener noreferrer\" target=\"_blank\">Meet the Filmmakers\u003c/a>. If you’d rather hear moviemakers riff about films you’ve actually seen, SFFILM has also uploaded a trove of onstage interviews with actors and directors from \u003ca href=\"https://sffilm.org/from-the-archives/\" rel=\"noopener noreferrer\" target=\"_blank\">previous festivals\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13878835\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment.jpg\" alt=\"\" width=\"960\" height=\"499\" class=\"size-full wp-image-13878835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment-800x416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment-768x399.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Saru Jayaraman at a rally against sexual harassment in Abby Ginzberg’s ‘Waging Change.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A special treat for those who’ve read this far: Via its ongoing online Virtual Film Festival, the New York distributor Women Make Movies is streaming East Bay documentary maker Abby Ginzberg’s essential new film, \u003cem>Waging Change\u003c/em>, April 17–26. It’s part of this month’s \u003ca href=\"https://mailchi.mp/wmm/whm-virtual-film-fest/\" rel=\"noopener noreferrer\" target=\"_blank\">Films, Interrupted\u003c/a> series of new works whose festival premieres and theatrical launches were coronavirus casualties. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film’s Bay Area premiere—and key revenue stream—was scheduled for March 27 at the Castro, then bumped to May and pushed again to July 12. Check out the \u003ca href=\"http://wagingchange.com/trailer\" rel=\"noopener noreferrer\" target=\"_blank\">trailer\u003c/a>, watch the entire film for free thanks to Women Make Movies, then tip your server generously at the \u003ca href=\"http://wagingchange.com\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>Waging Change\u003c/em> website\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Bruce Baillie died on April 10 at his Washington state home at the age of 88, the curtain also dropped on an influential yet seat-of-the-pants era in Bay Area avant-garde film. \u003c/p>\n\u003cp>A South Dakotan who studied in Minnesota, London and Yugoslavia, Baillie migrated here in the late ’50s and set about teaching himself cinematography and editing. In tandem with making films of uncommon beauty and grace, he founded \u003ca href=\"http://canyoncinema.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Canyon Cinema\u003c/a> (to screen and eventually distribute his and fellow artists’ films) and co-founded \u003ca href=\"https://www.sfcinematheque.org/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Cinematheque\u003c/a>.\u003c/p>\n\u003cp>“Immediately, I realized that making films and showing films must go hand in hand,” Baillie recalled in a 1989 conversation with experimental-film historian and critic Scott MacDonald, “so [in 1960] I got a job at Safeway, took out a loan and bought a projector. We got an army surplus screen and hung it up real nice in the backyard of this house we were renting. Then we’d find whatever films we could, including our own little things that were in progress—‘we,’ there wasn’t really any we, just me for a while—and show them.”\u003c/p>\n\u003cp>Baillie’s films evince his unique eye and sensibility yet generously allow ample room for the viewer’s experience. Revisit \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0060220\" rel=\"noopener noreferrer\" target=\"_blank\">Castro Street\u003c/a>\u003c/em> (1966), shot largely in Richmond and redolent with train whistles and train tracks, evoking both night dreams and daydreams of an America to be explored \u003cem>just out there\u003c/em>. “For Baillie,” MacDonald wrote, “the filmstrip is a space where the physical world around him and the spiritual world within him can intersect.” \u003c/p>\n\u003cfigure id=\"attachment_13878833\" class=\"wp-caption aligncenter\" style=\"max-width: 1320px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740.jpg\" alt=\"\" width=\"1320\" height=\"740\" class=\"size-full wp-image-13878833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740.jpg 1320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/06-SR-SP20-OR-Gallery-1320x740-1020x572.jpg 1020w\" sizes=\"(max-width: 1320px) 100vw, 1320px\">\u003cfigcaption class=\"wp-caption-text\">Still from Karly Stark’s ‘the problem is that everything is fleeting,’ 2015. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SF Cinematheque, for its part, continues to champion the handmade films of avant-garde artists, and is one of several local institutions streaming new and recent work for free while theater spaces are shuttered. The short-film compilation \u003cem>\u003ca href=\"http://www.sfcinematheque.org/video-programs/certainty-is-becoming-our-nemesis/\" rel=\"noopener noreferrer\" target=\"_blank\">certainty is becoming our nemesis\u003c/a>\u003c/em>, which screened in conjunction with the \u003cem>\u003ca href=\"https://www.mcevoyarts.org/exhibition/orlando/\" rel=\"noopener noreferrer\" target=\"_blank\">Orlando\u003c/a>\u003c/em> exhibition curated by Tilda Swinton at McEvoy Foundation for the Arts until shelter-in-place orders went into effect, has moved online through May 2. From the morphing nude portraits of Alice Anne Parker’s \u003cem>Riverbody\u003c/em> (1970) to Karly Stark’s onscreen pondering of \u003cem>the problem is that everything is fleeting\u003c/em> (2015), the program embraces flux and fluidity—which makes it even more on point than curator Steve Polta could have imagined.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SF Cinematheque has also teamed with Yerba Buena Center for the Arts and Video Data Bank on \u003cem>\u003ca href=\"http://www.sfcinematheque.org/video-programs/i-hate-the-internet/\" rel=\"noopener noreferrer\" target=\"_blank\">I Hate the Internet: Techno-Dystopian Malaise and Visions of Rebellion\u003c/a>\u003c/em>, a program of apocalypse-now-and-in-the-future shorts, online through May 16. Jesse McLean’s \u003cem>The Invisible World\u003c/em> (2012), with its probing of our relationship to common household objects, may be especially poignant for viewers who catch themselves staring at a drawer of silverware or plastic wrap and contemplating the inner lives of inanimate objects.\u003c/p>\n\u003cp>SFMOMA has initiated a smattering of online screenings in its #MuseumFromHome program, with local sound-and-image artist Bill Fontana’s entrancing \u003cem>\u003ca href=\"http://www.sfmoma.org/watch/museumfromhome-online-screenings/\" rel=\"noopener noreferrer\" target=\"_blank\">White Motions\u003c/a>\u003c/em> (2017) (headphones essential!) on view through April 21. Bookmark the page as a different film goes up every Wednesday.\u003c/p>\n\u003cp>In lieu of its sadly canceled festival, which would otherwise be unspooling right now, SFFILM offers a couple of online options under the rubric “SFFILM at Home.” A veritable flock of filmmakers whose new work was scheduled to play the festival have recorded video profiles, which you can browse at \u003ca href=\"https://sffilm.org/meet-the-filmmakers/\" rel=\"noopener noreferrer\" target=\"_blank\">Meet the Filmmakers\u003c/a>. If you’d rather hear moviemakers riff about films you’ve actually seen, SFFILM has also uploaded a trove of onstage interviews with actors and directors from \u003ca href=\"https://sffilm.org/from-the-archives/\" rel=\"noopener noreferrer\" target=\"_blank\">previous festivals\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13878835\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment.jpg\" alt=\"\" width=\"960\" height=\"499\" class=\"size-full wp-image-13878835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment-800x416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Wage_Saru-Jayaraman-at-rally-against-sexual-harassment-768x399.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Saru Jayaraman at a rally against sexual harassment in Abby Ginzberg’s ‘Waging Change.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A special treat for those who’ve read this far: Via its ongoing online Virtual Film Festival, the New York distributor Women Make Movies is streaming East Bay documentary maker Abby Ginzberg’s essential new film, \u003cem>Waging Change\u003c/em>, April 17–26. It’s part of this month’s \u003ca href=\"https://mailchi.mp/wmm/whm-virtual-film-fest/\" rel=\"noopener noreferrer\" target=\"_blank\">Films, Interrupted\u003c/a> series of new works whose festival premieres and theatrical launches were coronavirus casualties. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film’s Bay Area premiere—and key revenue stream—was scheduled for March 27 at the Castro, then bumped to May and pushed again to July 12. Check out the \u003ca href=\"http://wagingchange.com/trailer\" rel=\"noopener noreferrer\" target=\"_blank\">trailer\u003c/a>, watch the entire film for free thanks to Women Make Movies, then tip your server generously at the \u003ca href=\"http://wagingchange.com\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>Waging Change\u003c/em> website\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "3 Movies That Strike A Balance Between Escapism And Anxiety",
"headTitle": "3 Movies That Strike A Balance Between Escapism And Anxiety | KQED",
"content": "\u003cp>What kind of movie watcher are you in the age of coronavirus? While sheltering at home, do you seek out joyous Hollywood classics like \u003ca href=\"https://www.npr.org/2012/08/09/158489285/60-years-later-still-singin-in-the-rain\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Singin’ in the Rain\u003c/em>\u003c/a>? Or do you lean into tales of terror, madness and social breakdown, like all those viewers who have made \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2020/02/16/802704825/fact-checking-contagion-in-wake-of-coronavirus-the-2011-movie-is-trending\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Contagion\u003c/em> \u003c/a>one of the year’s hottest rentals?\u003c/p>\n\u003cp>I fall somewhere in between: eager for escapism, yes, but also for movies that speak to our present anxieties. Here are three movies, two old and one new, that have been on my screen and on my mind.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Sorry We Missed You\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ysjwg-MnZao&t=35s\u003c/p>\n\u003cp>The English working class has no angrier or more prolific champion than the 83-year-old director Ken Loach. His furious and timely new drama, \u003cem>Sorry We Missed You\u003c/em>, can be rented via \u003ca href=\"https://www.kinolorber.com/news/article/id/76\" target=\"_blank\" rel=\"noopener noreferrer\">Kino Marquee\u003c/a>, an online platform to benefit closed-down arthouse theaters. It stars an excellent Kris Hitchen as Ricky Turner, a Newcastle day laborer who begins driving a van for a parcel delivery company. His new boss sells him on the flexibility of being an independent contractor, but the reality is crushing: Ricky has to buy his own van and receives no benefits or paid time off. Every day brings ruthless deadlines and the risk of parking tickets and fines for late deliveries. To maximize efficiency, Ricky keeps an empty bottle in the van so he can relieve himself on the go. One day he learns that he violated company policy simply by taking his young daughter along for a ride.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Loach and his regular screenwriter, Paul Laverty, are not the subtlest of dramatists, and \u003cem>Sorry We Missed You\u003c/em> can feel bludgeoning in its bleakness, especially in the scenes of the Turners at home. I loved Debbie Honeywood as Ricky’s good-hearted wife, Abbie, whose home-care nursing job has her also burning the candle at both ends. But a calculated subplot with their wayward teenage son sends the story in melodramatic directions it doesn’t need. What gives the movie its power, especially at a time when so many of us are relying on package and food deliveries, is Loach’s palpable rage at the soullessness of the gig economy. He shows us the human toll on workers who have never been more essential—or more exploited.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Green for Danger\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=prfROGvCoDc\u003c/p>\n\u003cp>Speaking of essential: Bearing in mind the lifesaving risks being taken by health care workers all over the world, I recently found myself rewatching \u003cem>Green for Danger\u003c/em>, a superbly entertaining 1946 murder mystery set in a rural British hospital during World War II. The German air raids provide an already high-stakes backdrop for a story that proceeds to get only more suspenseful and harrowing from there. The movie follows a group of doctors and nurses who come under suspicion when a patient dies during surgery and a nurse is found fatally stabbed shortly afterward.\u003c/p>\n\u003cp>The murder investigation falls to Inspector Cockrill of Scotland Yard, played with droll mischief by Alastair Sim, whom you probably know for his all-time great performance as Ebenezer Scrooge. The other actors, who include Sally Gray, Trevor Howard and Judy Campbell, are terrific as a group of medical professionals whose romantic entanglements and professional jealousies wouldn’t be out of place on \u003cem>General Hospital\u003c/em>. \u003cem>Green for Danger\u003c/em>, which is streaming on various platforms including the invaluable \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Criterion Channel\u003c/a>, was directed by Sidney Gilliat and faithfully adapted from \u003ca href=\"https://www.npr.org/books/titles/834122521/green-for-danger\" target=\"_blank\" rel=\"noopener noreferrer\">one of my favorite detective novels\u003c/a> by Christianna Brand. It’s brilliantly plotted, crisply acted and often very funny, which must have been a relief for audiences back in 1946, readjusting to normal life with the war still fresh on their minds.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Neighbor Totoro\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=92a7Hj0ijLs\u003c/p>\n\u003cp>The difficulty of readjustment is also a theme of the 1988 charmer \u003cem>My Neighbor Totoro\u003c/em>, one of the earliest and most beloved achievements of the great Japanese animator \u003ca href=\"https://www.npr.org/books/authors/534164156/hayao-miyazaki\" target=\"_blank\" rel=\"noopener noreferrer\">Hayao Miyazaki\u003c/a>. I watched it again recently, this time at home with my 3-year-old daughter, who’s still a bit young for darker Miyazaki fantasies like \u003cem>Princess Mononoke\u003c/em> and \u003cem>Spirited Away\u003c/em>. But she was captivated by this one—transported by the gorgeous, painterly images and delighted by every appearance of the giant, huggable woodland creature known as Totoro, whom she had already squeezed many times before in plush-toy form.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie, which you can stream on platforms including Amazon Prime and YouTube, follows two young sisters who have moved with their father to an old house in the countryside while their mother recovers from an illness in a nearby hospital. In the surrounding woods, they meet Totoro and other astonishing creatures, like the Catbus, a giant, grinning vehicle that whisks you from one end of the forest to another on 12 furry legs. Like many of Miyazaki’s films, \u003cem>My Neighbor Totoro\u003c/em> is rooted in rich strains of Japanese mythology and folklore, but it guides us through this world with beguiling simplicity and generous humor. It’s also a deeply consoling film about finding strength when we need it most. I can’t think of a more charming fantasy—or a better movie for us to cling to in our own time of uncertainty.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=3+Movies+That+Strike+A+Balance+Between+Escapism+And+Anxiety&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What kind of movie watcher are you in the age of coronavirus? While sheltering at home, do you seek out joyous Hollywood classics like \u003ca href=\"https://www.npr.org/2012/08/09/158489285/60-years-later-still-singin-in-the-rain\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Singin’ in the Rain\u003c/em>\u003c/a>? Or do you lean into tales of terror, madness and social breakdown, like all those viewers who have made \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2020/02/16/802704825/fact-checking-contagion-in-wake-of-coronavirus-the-2011-movie-is-trending\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Contagion\u003c/em> \u003c/a>one of the year’s hottest rentals?\u003c/p>\n\u003cp>I fall somewhere in between: eager for escapism, yes, but also for movies that speak to our present anxieties. Here are three movies, two old and one new, that have been on my screen and on my mind.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Sorry We Missed You\u003c/strong>\u003c/em>\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/ysjwg-MnZao'\n title='//www.youtube.com/embed/ysjwg-MnZao'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The English working class has no angrier or more prolific champion than the 83-year-old director Ken Loach. His furious and timely new drama, \u003cem>Sorry We Missed You\u003c/em>, can be rented via \u003ca href=\"https://www.kinolorber.com/news/article/id/76\" target=\"_blank\" rel=\"noopener noreferrer\">Kino Marquee\u003c/a>, an online platform to benefit closed-down arthouse theaters. It stars an excellent Kris Hitchen as Ricky Turner, a Newcastle day laborer who begins driving a van for a parcel delivery company. His new boss sells him on the flexibility of being an independent contractor, but the reality is crushing: Ricky has to buy his own van and receives no benefits or paid time off. Every day brings ruthless deadlines and the risk of parking tickets and fines for late deliveries. To maximize efficiency, Ricky keeps an empty bottle in the van so he can relieve himself on the go. One day he learns that he violated company policy simply by taking his young daughter along for a ride.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Loach and his regular screenwriter, Paul Laverty, are not the subtlest of dramatists, and \u003cem>Sorry We Missed You\u003c/em> can feel bludgeoning in its bleakness, especially in the scenes of the Turners at home. I loved Debbie Honeywood as Ricky’s good-hearted wife, Abbie, whose home-care nursing job has her also burning the candle at both ends. But a calculated subplot with their wayward teenage son sends the story in melodramatic directions it doesn’t need. What gives the movie its power, especially at a time when so many of us are relying on package and food deliveries, is Loach’s palpable rage at the soullessness of the gig economy. He shows us the human toll on workers who have never been more essential—or more exploited.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Green for Danger\u003c/strong>\u003c/em>\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/prfROGvCoDc'\n title='//www.youtube.com/embed/prfROGvCoDc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Speaking of essential: Bearing in mind the lifesaving risks being taken by health care workers all over the world, I recently found myself rewatching \u003cem>Green for Danger\u003c/em>, a superbly entertaining 1946 murder mystery set in a rural British hospital during World War II. The German air raids provide an already high-stakes backdrop for a story that proceeds to get only more suspenseful and harrowing from there. The movie follows a group of doctors and nurses who come under suspicion when a patient dies during surgery and a nurse is found fatally stabbed shortly afterward.\u003c/p>\n\u003cp>The murder investigation falls to Inspector Cockrill of Scotland Yard, played with droll mischief by Alastair Sim, whom you probably know for his all-time great performance as Ebenezer Scrooge. The other actors, who include Sally Gray, Trevor Howard and Judy Campbell, are terrific as a group of medical professionals whose romantic entanglements and professional jealousies wouldn’t be out of place on \u003cem>General Hospital\u003c/em>. \u003cem>Green for Danger\u003c/em>, which is streaming on various platforms including the invaluable \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Criterion Channel\u003c/a>, was directed by Sidney Gilliat and faithfully adapted from \u003ca href=\"https://www.npr.org/books/titles/834122521/green-for-danger\" target=\"_blank\" rel=\"noopener noreferrer\">one of my favorite detective novels\u003c/a> by Christianna Brand. It’s brilliantly plotted, crisply acted and often very funny, which must have been a relief for audiences back in 1946, readjusting to normal life with the war still fresh on their minds.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Neighbor Totoro\u003c/strong>\u003c/em>\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/92a7Hj0ijLs'\n title='//www.youtube.com/embed/92a7Hj0ijLs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The difficulty of readjustment is also a theme of the 1988 charmer \u003cem>My Neighbor Totoro\u003c/em>, one of the earliest and most beloved achievements of the great Japanese animator \u003ca href=\"https://www.npr.org/books/authors/534164156/hayao-miyazaki\" target=\"_blank\" rel=\"noopener noreferrer\">Hayao Miyazaki\u003c/a>. I watched it again recently, this time at home with my 3-year-old daughter, who’s still a bit young for darker Miyazaki fantasies like \u003cem>Princess Mononoke\u003c/em> and \u003cem>Spirited Away\u003c/em>. But she was captivated by this one—transported by the gorgeous, painterly images and delighted by every appearance of the giant, huggable woodland creature known as Totoro, whom she had already squeezed many times before in plush-toy form.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie, which you can stream on platforms including Amazon Prime and YouTube, follows two young sisters who have moved with their father to an old house in the countryside while their mother recovers from an illness in a nearby hospital. In the surrounding woods, they meet Totoro and other astonishing creatures, like the Catbus, a giant, grinning vehicle that whisks you from one end of the forest to another on 12 furry legs. Like many of Miyazaki’s films, \u003cem>My Neighbor Totoro\u003c/em> is rooted in rich strains of Japanese mythology and folklore, but it guides us through this world with beguiling simplicity and generous humor. It’s also a deeply consoling film about finding strength when we need it most. I can’t think of a more charming fantasy—or a better movie for us to cling to in our own time of uncertainty.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=3+Movies+That+Strike+A+Balance+Between+Escapism+And+Anxiety&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Lockdown Movie Musts: The Breakdancing B-Boys of 1984 Edition",
"headTitle": "Lockdown Movie Musts: The Breakdancing B-Boys of 1984 Edition | KQED",
"content": "\u003cp>Welcome to week three of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll take your mind off, well, (*frowns and points out window*) all that out there.\u003c/p>\n\u003cp>I feel obliged to start this week with a disclaimer. When not living through a global pandemic, the only breakdancing movie ever truly worth watching is 1984’s \u003ca href=\"https://www.imdb.com/title/tt0086946/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Beat Street\u003c/em>\u003c/a>. Essentially, it’s \u003cem>Saturday Night Fever\u003c/em> for breakdancing—a story rooted in old school New York grit, poverty and the respite that music, dance and art can provide. [aside postid='arts_13877955']\u003c/p>\n\u003cp>Unfortunately—sorry, \u003cem>Beat Street\u003c/em>—we’re almost a month into lockdown at this point. So right now, no one needs to look at the Bronx in winter, or cramped apartments full of sad people, or that many ugly sweaters gathered in one place. (Not even time capsule appearances by Doug E. Fresh, Melle Mel & the Furious Five and DJ Kool Herc can cheer this thing up enough for 2020.)\u003c/p>\n\u003cp>Instead, we’ll be looking at two other breakdance movies released in 1984: \u003ca href=\"https://en.wikipedia.org/wiki/Breakin%27\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Breakin’\u003c/em>\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Breakin%27_2:_Electric_Boogaloo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Breakin’ 2: Electric Boogaloo\u003c/em>\u003c/a>. Yes, it’s impossible to fathom why one year warranted two \u003cem>Breakin’\u003c/em> movies, but let’s just say I’m grateful for them now. Girls wearing four pairs of leg-warmers at once! Men pairing leisurewear with a surprising number of studded accessories! Los Angeles! Now this is more like it. [aside postid='arts_13877402']\u003c/p>\n\u003cp>\u003cem>Breakin’ \u003c/em>is all about a conventional dancer named Kelly, who has one of those almost-mullets that were popular with women in the 1980s. After growing disillusioned with her jazz dance class, Kelly joins forces with street dancers Ozone and Turbo to form a dance crew that defies descriptions \u003cem>and\u003c/em> stereotypes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Aside from that, the plot mostly involves dance-offs, dance routines, dance training montages, dance hangouts, dance classes, dance contests, dance auditions, dance agents, dance teachers and, to break up the content a bit, dancing on Venice Beach. There’s also a flagrant Nike sponsorship that no one talks about, several pre-fame \u003ca href=\"https://www.youtube.com/watch?v=ZgIp4Y5NoZk\" target=\"_blank\" rel=\"noopener noreferrer\">cameos by Ice-T\u003c/a> and, in the grand finale, Kelly in an outfit that makes her look exactly like \u003ca href=\"https://www.youtube.com/watch?v=XfdiXBA7f6U\" target=\"_blank\" rel=\"noopener noreferrer\">Gozer from \u003cem>Ghostbusters\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>There’s almost a tiny bit of commentary about class privilege thrown in here but, in the end, the movie realizes that’s not what it’s here for and gives up. Hurray!\u003c/p>\n\u003cp>Honestly, the most important thing to note about \u003cem>Breakin’\u003c/em> is that the acting is a solid reflection of the fact that dancers were hired for all of the lead roles. What this results in is a lot of awkward, ’70s porn-level acting, followed by dancing instead of sexual activity. There’s no way to accurately convey in words how terrible it is without just showing you an example.\u003c/p>\n\u003cp>So, here. Please watch in awe what happens after the robotic broom routine is over.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_fgxD7igaUk\u003c/p>\n\u003cp>Given the obvious lack of substance involved in \u003cem>Breakin’\u003c/em>, it may come as a bit of a surprise to hear that its sequel, \u003cem>Breakin’ 2: Electric Boogaloo,\u003c/em> plays so fast and loose with anything even approaching realism, it makes \u003cem>Breakin’\u003c/em> look like, well, \u003cem>Beat Street\u003c/em>. Which, in turn, makes \u003cem>Beat Street\u003c/em> look like \u003ca href=\"https://en.wikipedia.org/wiki/Dark_Days_(film)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dark Days\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Sure, \u003cem>Electric\u003c/em> \u003cem>Boogaloo\u003c/em>‘s plot might be about working-class kids trying to save a community center. And sure, its soundtrack might be almost entirely Ice-T-based, but it’s also a movie that genuinely believes scenes like the one below qualify as tense and edgy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bsaA903oxvc&t=11s\u003c/p>\n\u003cp>And that’s before we even get to the part where Turbo literally walks up a wall and \u003ca href=\"https://www.youtube.com/watch?v=PZ93GNHBHsE\" target=\"_blank\" rel=\"noopener noreferrer\">dances on a ceiling\u003c/a>. Upside down. In front of his girlfriend. Who pulls the same facial expression we might expect if he were just making a sandwich or something. It’s baffling on so many levels, I’m not sure there’s a sensible way to even begin to tackle it. (Lionel Richie \u003cem>did\u003c/em> definitely steal all of this for his 1986 “\u003ca href=\"https://www.youtube.com/watch?v=ovo6zwv6DX4\" target=\"_blank\" rel=\"noopener noreferrer\">Dancing on the Ceiling\u003c/a>” video though, so… silver lining?)\u003c/p>\n\u003cp>Anyway, mostly what you get from \u003cem>Breakin’ 2: Electric Boogaloo\u003c/em> is an unfathomable number of “spontaneous” dance scenes in which bystanders (including traffic cops, old ladies, dudes up telephone poles and, at one point, the entire staff of a hospital) drop whatever they’re doing to join Kelly, Ozone and Turbo’s dance train. (I remain shocked that the Village People didn’t show up.)\u003c/p>\n\u003cp>Frankly, in the end, both \u003cem>Breakin’\u003c/em> movies left me with totally unrealistic expectations around what to expect the next time a random group of people all hear music in the street at the same time. Maybe by the time we get outside again, we too will want to throw spontaneous street-dance parties. Best prepare with your own personal poppin’ and lockin’ montage ASAP.\u003c/p>\n\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The leg warmers, painfully awkward acting and lots—we mean lots—of dance sequences in 'Breakin' are sure to lift your mood.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to week three of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll take your mind off, well, (*frowns and points out window*) all that out there.\u003c/p>\n\u003cp>I feel obliged to start this week with a disclaimer. When not living through a global pandemic, the only breakdancing movie ever truly worth watching is 1984’s \u003ca href=\"https://www.imdb.com/title/tt0086946/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Beat Street\u003c/em>\u003c/a>. Essentially, it’s \u003cem>Saturday Night Fever\u003c/em> for breakdancing—a story rooted in old school New York grit, poverty and the respite that music, dance and art can provide. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unfortunately—sorry, \u003cem>Beat Street\u003c/em>—we’re almost a month into lockdown at this point. So right now, no one needs to look at the Bronx in winter, or cramped apartments full of sad people, or that many ugly sweaters gathered in one place. (Not even time capsule appearances by Doug E. Fresh, Melle Mel & the Furious Five and DJ Kool Herc can cheer this thing up enough for 2020.)\u003c/p>\n\u003cp>Instead, we’ll be looking at two other breakdance movies released in 1984: \u003ca href=\"https://en.wikipedia.org/wiki/Breakin%27\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Breakin’\u003c/em>\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Breakin%27_2:_Electric_Boogaloo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Breakin’ 2: Electric Boogaloo\u003c/em>\u003c/a>. Yes, it’s impossible to fathom why one year warranted two \u003cem>Breakin’\u003c/em> movies, but let’s just say I’m grateful for them now. Girls wearing four pairs of leg-warmers at once! Men pairing leisurewear with a surprising number of studded accessories! Los Angeles! Now this is more like it. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Breakin’ \u003c/em>is all about a conventional dancer named Kelly, who has one of those almost-mullets that were popular with women in the 1980s. After growing disillusioned with her jazz dance class, Kelly joins forces with street dancers Ozone and Turbo to form a dance crew that defies descriptions \u003cem>and\u003c/em> stereotypes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Aside from that, the plot mostly involves dance-offs, dance routines, dance training montages, dance hangouts, dance classes, dance contests, dance auditions, dance agents, dance teachers and, to break up the content a bit, dancing on Venice Beach. There’s also a flagrant Nike sponsorship that no one talks about, several pre-fame \u003ca href=\"https://www.youtube.com/watch?v=ZgIp4Y5NoZk\" target=\"_blank\" rel=\"noopener noreferrer\">cameos by Ice-T\u003c/a> and, in the grand finale, Kelly in an outfit that makes her look exactly like \u003ca href=\"https://www.youtube.com/watch?v=XfdiXBA7f6U\" target=\"_blank\" rel=\"noopener noreferrer\">Gozer from \u003cem>Ghostbusters\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>There’s almost a tiny bit of commentary about class privilege thrown in here but, in the end, the movie realizes that’s not what it’s here for and gives up. Hurray!\u003c/p>\n\u003cp>Honestly, the most important thing to note about \u003cem>Breakin’\u003c/em> is that the acting is a solid reflection of the fact that dancers were hired for all of the lead roles. What this results in is a lot of awkward, ’70s porn-level acting, followed by dancing instead of sexual activity. There’s no way to accurately convey in words how terrible it is without just showing you an example.\u003c/p>\n\u003cp>So, here. Please watch in awe what happens after the robotic broom routine is over.\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/_fgxD7igaUk'\n title='//www.youtube.com/embed/_fgxD7igaUk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Given the obvious lack of substance involved in \u003cem>Breakin’\u003c/em>, it may come as a bit of a surprise to hear that its sequel, \u003cem>Breakin’ 2: Electric Boogaloo,\u003c/em> plays so fast and loose with anything even approaching realism, it makes \u003cem>Breakin’\u003c/em> look like, well, \u003cem>Beat Street\u003c/em>. Which, in turn, makes \u003cem>Beat Street\u003c/em> look like \u003ca href=\"https://en.wikipedia.org/wiki/Dark_Days_(film)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dark Days\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Sure, \u003cem>Electric\u003c/em> \u003cem>Boogaloo\u003c/em>‘s plot might be about working-class kids trying to save a community center. And sure, its soundtrack might be almost entirely Ice-T-based, but it’s also a movie that genuinely believes scenes like the one below qualify as tense and edgy.\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/bsaA903oxvc'\n title='//www.youtube.com/embed/bsaA903oxvc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And that’s before we even get to the part where Turbo literally walks up a wall and \u003ca href=\"https://www.youtube.com/watch?v=PZ93GNHBHsE\" target=\"_blank\" rel=\"noopener noreferrer\">dances on a ceiling\u003c/a>. Upside down. In front of his girlfriend. Who pulls the same facial expression we might expect if he were just making a sandwich or something. It’s baffling on so many levels, I’m not sure there’s a sensible way to even begin to tackle it. (Lionel Richie \u003cem>did\u003c/em> definitely steal all of this for his 1986 “\u003ca href=\"https://www.youtube.com/watch?v=ovo6zwv6DX4\" target=\"_blank\" rel=\"noopener noreferrer\">Dancing on the Ceiling\u003c/a>” video though, so… silver lining?)\u003c/p>\n\u003cp>Anyway, mostly what you get from \u003cem>Breakin’ 2: Electric Boogaloo\u003c/em> is an unfathomable number of “spontaneous” dance scenes in which bystanders (including traffic cops, old ladies, dudes up telephone poles and, at one point, the entire staff of a hospital) drop whatever they’re doing to join Kelly, Ozone and Turbo’s dance train. (I remain shocked that the Village People didn’t show up.)\u003c/p>\n\u003cp>Frankly, in the end, both \u003cem>Breakin’\u003c/em> movies left me with totally unrealistic expectations around what to expect the next time a random group of people all hear music in the street at the same time. Maybe by the time we get outside again, we too will want to throw spontaneous street-dance parties. Best prepare with your own personal poppin’ and lockin’ montage ASAP.\u003c/p>\n\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Need An Escape? Try 'Unorthodox,' 'Baghdad Central' and 'Abigail'",
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"content": "\u003cp>The Russian poet Joseph Brodsky once said that prison is a lack of space counterbalanced by a surplus of time. Our current lockdown can’t be compared to being locked up, but with so much surplus time on our hands, many of us are eager for stories that will help us escape endless thoughts of COVID-19. Here are three that did that for me:\u003c/p>\n\u003ch3>Unorthodox\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=-zVhRId0BTw\u003c/p>\n\u003cp>This desire for escape underlies the appeal of \u003ca href=\"https://www.netflix.com/title/81019069\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Unorthodox\u003c/em>,\u003c/a> the four-part Netflix series that has viewers whooshing through it in a single night. Loosely based on \u003ca href=\"https://www.npr.org/books/titles/822572039/unorthodox-the-scandalous-rejection-of-my-hasidic-roots\" target=\"_blank\" rel=\"noopener noreferrer\">a memoir\u003c/a> by Deborah Feldman, it stars Israeli actor Shira Haas as 19-year-old Esther “Esty” Shapiro, a woman who flees her marriage and her tight Hasidic community in Williamsburg, Brooklyn. Esty jets off to Berlin, where a group of music students take her under their wing. Meanwhile, she’s pursued by her husband, Yanky (Amit Rahav), and his cousin Moishe (Jeff Wilbusch), who’s something of a thug.\u003c/p>\n\u003cp>\u003cem>Unorthodox\u003c/em> is an uncommonly seductive show because, for both good and ill, it feels like pure Hollywood. On the bad side, it ignores or fudges every hard question about Esty’s motivations or religious practice; and its swooning portrait of attractive, multicultural Berlin—director Maria Schrader is German—could have been commissioned by that city’s tourist board. Yet, like a good Hollywood movie, \u003cem>Unorthodox\u003c/em> moves along so briskly, boasts such terrific acting and offers enough surprises that you sink easily into its upbeat tale of a woman who escapes into a glorious new future.\u003c/p>\n\u003ch3>Baghdad Central\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=JxQXiIjYiwo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The future has come—and failed—in \u003ca href=\"https://www.hulu.com/series/baghdad-central-9466962d-4af2-47a5-bc18-ed1ae38aac49\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Baghdad Central\u003c/em>, \u003c/a>a gripping new noir series on Hulu. Set shortly after the 2003 invasion of Iraq, it centers on Muhsin al-Khafaji (Waleed Zuaiter) a former Baghdad police inspector whose world has collapsed: His rebellious daughter, Sawsan, has gone missing, his sweet daughter, Mrouj, desperately needs dialysis—and he has no job.\u003c/p>\n\u003cp>Then a Brit named Frank Temple, played by amusing Bertie Carvel, offers Khafaji’s daughter medical care if he’ll work as a cop for Occupation forces. Khafaji soon finds himself threatened on three fronts—by the slippery Temple, by an arrogant American military honcho, well-played by Corey Stoll, and by his fellow Iraqis, who despise him for collaborating.\u003c/p>\n\u003cp>Based \u003ca href=\"https://www.npr.org/books/titles/828232367/baghdad-central\" target=\"_blank\" rel=\"noopener noreferrer\">a novel by Elliott Colla,\u003c/a> \u003cem>Baghdad Central\u003c/em> takes a well-worn scenario—an honorable cop caught in deadly circumstances—and uses it to show us something new. Uprooting stereotypes, it explores how the Occupation was experienced by its supposed beneficiaries. As Khafaji travels around Baghdad, the series depicts things we haven’t seen: The way daily life became nearly impossible in occupied Iraq, the reason some Iraqis collaborated while others did not, and how the Coalition bungled things so badly that Iraqis thought of Americans as fools and incompetents, not liberators. For his part, Khafaji has a clear plan: Find his vanished daughter, get the other one healthy, and leave the country.\u003c/p>\n\u003ch3>Abigail\u003c/h3>\n\u003cp>Leaving is also the dream of Gina Vitay, the spoiled 15-year-old heroine of \u003cem>Abigail\u003c/em>, a 50-year-old Hungarian novel by the late Magda Szabó, best known for her staggeringly great 1987 novel \u003ca href=\"https://www.npr.org/books/titles/828260449/the-door\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Door\u003c/em>\u003c/a>. The scene is World War II Hungary, and Gina is a general’s daughter, who’s abruptly shunted from her family’s elegant Budapest home to strict religious girls’ school in the provinces.\u003c/p>\n\u003cp>Entitled and arrogant—she’s been compared to Jane Austen’s Emma Woodhouse—Gina feels like a prisoner. She instantly runs afoul of her fellow students, suffers the disapproval of the gorgeous but strict Sister Susanna and plots her escape back to her adored father.\u003c/p>\n\u003cp>It sounds dreary, I know. Yet in Len Rix’s superb translation, \u003cem>Abigail\u003c/em> is a delightful page-turner. There’s an air of enchantment about the school—the book takes its title from a statue that supposedly grants the students’ wishes—and Gina begins to have adventures—some quite funny, others that bring tears to your eyes.\u003c/p>\n\u003cp>\u003cem>Abigail\u003c/em> is beloved in Hungary—where it even became a musical—and it’s easy to see why. Like \u003cem>Huckleberry Finn\u003c/em>, it tells the story of a frivolous young person who gains moral awareness by encountering painful truths. During her months of confinement in the school, Gina learns the fallibility of her own judgment, the worthiness of other people and the existence of a historical world outside the bubble she’s been living in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With luck, my own months of confinement will make me a bit wiser, too.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Need+An+Escape%3F+Try+%27Unorthodox%2C%27+%27Baghdad+Central%27+And+%27Abigail%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Russian poet Joseph Brodsky once said that prison is a lack of space counterbalanced by a surplus of time. Our current lockdown can’t be compared to being locked up, but with so much surplus time on our hands, many of us are eager for stories that will help us escape endless thoughts of COVID-19. Here are three that did that for me:\u003c/p>\n\u003ch3>Unorthodox\u003c/h3>\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/-zVhRId0BTw'\n title='//www.youtube.com/embed/-zVhRId0BTw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This desire for escape underlies the appeal of \u003ca href=\"https://www.netflix.com/title/81019069\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Unorthodox\u003c/em>,\u003c/a> the four-part Netflix series that has viewers whooshing through it in a single night. Loosely based on \u003ca href=\"https://www.npr.org/books/titles/822572039/unorthodox-the-scandalous-rejection-of-my-hasidic-roots\" target=\"_blank\" rel=\"noopener noreferrer\">a memoir\u003c/a> by Deborah Feldman, it stars Israeli actor Shira Haas as 19-year-old Esther “Esty” Shapiro, a woman who flees her marriage and her tight Hasidic community in Williamsburg, Brooklyn. Esty jets off to Berlin, where a group of music students take her under their wing. Meanwhile, she’s pursued by her husband, Yanky (Amit Rahav), and his cousin Moishe (Jeff Wilbusch), who’s something of a thug.\u003c/p>\n\u003cp>\u003cem>Unorthodox\u003c/em> is an uncommonly seductive show because, for both good and ill, it feels like pure Hollywood. On the bad side, it ignores or fudges every hard question about Esty’s motivations or religious practice; and its swooning portrait of attractive, multicultural Berlin—director Maria Schrader is German—could have been commissioned by that city’s tourist board. Yet, like a good Hollywood movie, \u003cem>Unorthodox\u003c/em> moves along so briskly, boasts such terrific acting and offers enough surprises that you sink easily into its upbeat tale of a woman who escapes into a glorious new future.\u003c/p>\n\u003ch3>Baghdad Central\u003c/h3>\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/JxQXiIjYiwo'\n title='//www.youtube.com/embed/JxQXiIjYiwo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The future has come—and failed—in \u003ca href=\"https://www.hulu.com/series/baghdad-central-9466962d-4af2-47a5-bc18-ed1ae38aac49\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Baghdad Central\u003c/em>, \u003c/a>a gripping new noir series on Hulu. Set shortly after the 2003 invasion of Iraq, it centers on Muhsin al-Khafaji (Waleed Zuaiter) a former Baghdad police inspector whose world has collapsed: His rebellious daughter, Sawsan, has gone missing, his sweet daughter, Mrouj, desperately needs dialysis—and he has no job.\u003c/p>\n\u003cp>Then a Brit named Frank Temple, played by amusing Bertie Carvel, offers Khafaji’s daughter medical care if he’ll work as a cop for Occupation forces. Khafaji soon finds himself threatened on three fronts—by the slippery Temple, by an arrogant American military honcho, well-played by Corey Stoll, and by his fellow Iraqis, who despise him for collaborating.\u003c/p>\n\u003cp>Based \u003ca href=\"https://www.npr.org/books/titles/828232367/baghdad-central\" target=\"_blank\" rel=\"noopener noreferrer\">a novel by Elliott Colla,\u003c/a> \u003cem>Baghdad Central\u003c/em> takes a well-worn scenario—an honorable cop caught in deadly circumstances—and uses it to show us something new. Uprooting stereotypes, it explores how the Occupation was experienced by its supposed beneficiaries. As Khafaji travels around Baghdad, the series depicts things we haven’t seen: The way daily life became nearly impossible in occupied Iraq, the reason some Iraqis collaborated while others did not, and how the Coalition bungled things so badly that Iraqis thought of Americans as fools and incompetents, not liberators. For his part, Khafaji has a clear plan: Find his vanished daughter, get the other one healthy, and leave the country.\u003c/p>\n\u003ch3>Abigail\u003c/h3>\n\u003cp>Leaving is also the dream of Gina Vitay, the spoiled 15-year-old heroine of \u003cem>Abigail\u003c/em>, a 50-year-old Hungarian novel by the late Magda Szabó, best known for her staggeringly great 1987 novel \u003ca href=\"https://www.npr.org/books/titles/828260449/the-door\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Door\u003c/em>\u003c/a>. The scene is World War II Hungary, and Gina is a general’s daughter, who’s abruptly shunted from her family’s elegant Budapest home to strict religious girls’ school in the provinces.\u003c/p>\n\u003cp>Entitled and arrogant—she’s been compared to Jane Austen’s Emma Woodhouse—Gina feels like a prisoner. She instantly runs afoul of her fellow students, suffers the disapproval of the gorgeous but strict Sister Susanna and plots her escape back to her adored father.\u003c/p>\n\u003cp>It sounds dreary, I know. Yet in Len Rix’s superb translation, \u003cem>Abigail\u003c/em> is a delightful page-turner. There’s an air of enchantment about the school—the book takes its title from a statue that supposedly grants the students’ wishes—and Gina begins to have adventures—some quite funny, others that bring tears to your eyes.\u003c/p>\n\u003cp>\u003cem>Abigail\u003c/em> is beloved in Hungary—where it even became a musical—and it’s easy to see why. Like \u003cem>Huckleberry Finn\u003c/em>, it tells the story of a frivolous young person who gains moral awareness by encountering painful truths. During her months of confinement in the school, Gina learns the fallibility of her own judgment, the worthiness of other people and the existence of a historical world outside the bubble she’s been living in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With luck, my own months of confinement will make me a bit wiser, too.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Need+An+Escape%3F+Try+%27Unorthodox%2C%27+%27Baghdad+Central%27+And+%27Abigail%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>SFFILM, the venerable, far-ranging festival and big dog on the local cinema calendar, was supposed to start Wednesday. To fill the void, I should have compiled a selection of challenging films from around the globe. Maybe next week. Right now, a bit of comic diversion is called for. Here’s a batch of movies that use San Francisco locations to excellent effect.\u003c/p>\n\u003cp>\u003cb>\u003ci>What’s Up, Doc?\u003c/i>, 1972\u003c/b>\u003cbr>\n\u003ca href=\"https://www.criterionchannel.com/what-s-up-doc\" target=\"_blank\" rel=\"noopener noreferrer\">Criterion Channel\u003c/a>\u003cbr>\nPeter Bogdanovich’s homage to ’30s screwball comedies is a charming romp up and down San Francisco’s hills. Careening from coincidence to improbability, the movie revels in the comic timing of Barbra Streisand and straight man Ryan O’Neal. Raise a glass to co-screenwriter Buck Henry, who jitterbugged off this mortal coil in January.\u003c/p>\n\u003cp>\u003cb>\u003ci>North Beach\u003c/i>, 2000\u003c/b>\u003cbr>\n\u003ca href=\"https://www.fandor.com/films/north_beach\" target=\"_blank\" rel=\"noopener noreferrer\">Fandor\u003c/a>\u003cbr>\nTelegraph Hill is the picturesque setting for this indie gem that played to a packed Lumiere at a long-ago Indiefest. Casey Peterson (who wrote the clever comic screenplay) wakes up after a one-night stand with a stripper to discover that everyone—including his fiancée—knows about the dirty deed. Co-directors Jed Mortenson and Richard Speight draw naturalistic performances from a coterie of likable twenty-somethings who handle the sparkling banter with brio and aplomb.\u003c/p>\n\u003cp>\u003cb>\u003ci>So I Married an Axe Murderer\u003c/i>, 1993\u003c/b>\u003cbr>\n\u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.e2a9f7b7-0005-82c2-0a27-88b3029c4932\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon and other online rental platforms\u003c/a>\u003cbr>\nThe other comedy that Mike Myers put out in 1993 spun the turnstiles a good deal slower than \u003cem>Wayne’s World 2\u003c/em>. It’s worth a look for its local setting, the star’s dual performances and the weirdly funny supporting cast of Nancy Travis, Anthony LaPaglia, Phil Hartman, Brenda Fricker, Amanda Plummer and Charles Grodin.\u003c/p>\n\u003cp>\u003cb>\u003ci>Bicentennial Man\u003c/i>, 1999\u003c/b>\u003cbr>\n\u003ca href=\"https://play.hbogo.com/feature/urn:hbo:feature:GVYSiTAFbwIqLlS8JADtp\" target=\"_blank\" rel=\"noopener noreferrer\">HBO Go\u003c/a>\u003cbr>\nSix years after \u003cem>Mrs. Doubtfire\u003c/em>, Robin Williams and Chris Columbus paired up again to showcase the Bay Area’s natural and man-made beauty—as envisioned in the near and distant future. This speculative and overly sentimental fiction, adapted from Isaac Asimov’s story, follows a household robot’s progress over two centuries.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>\u003ci>Medicine for Melancholy\u003c/i>, 2008\u003c/b>\u003cbr>\n\u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.30a9f7bb-fbd1-13cd-5a9b-bdf1814a3f05\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon and other online rental platforms\u003c/a>\u003cbr>\nBarry Jenkins’ black-and-white debut, shot during the Miami-born director’s time in San Francisco, won the Audience Award at (what was then called) the S.F. International Film Festival. It’s of a piece with his later successes; that is, it’s an artful and piercing character study focused on the acute challenges of being black in America. After spending the night together, Wyatt Cenac and Tracey Heggins stroll around town navigating their awkward connection and the larger picture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ci>After the Thin Man\u003c/i>, 1936\u003c/b>\u003cbr>\n\u003ca href=\"https://www.amazon.com/gp/product/B000LJ60FO\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon and other online rental platforms\u003c/a>\u003cbr>\nThe copyright laws mystify me. How can an 84-year-old film not be in the public domain, and free to all? If you (or your children) have never seen Woody Van Dyke’s terrific S.F.-set sequel (the first of five) to \u003cem>The Thin Man\u003c/em>, his immortal 1934 adaptation of Dashiell Hammett’s novel, mix a pitcher of martinis and curl up with the dog. Urbane amateur detectives Nick and Nora Charles (the sublime William Powell and Mary Astor) are on the case, though assuredly not on the wagon.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>SFFILM, the venerable, far-ranging festival and big dog on the local cinema calendar, was supposed to start Wednesday. To fill the void, I should have compiled a selection of challenging films from around the globe. Maybe next week. Right now, a bit of comic diversion is called for. Here’s a batch of movies that use San Francisco locations to excellent effect.\u003c/p>\n\u003cp>\u003cb>\u003ci>What’s Up, Doc?\u003c/i>, 1972\u003c/b>\u003cbr>\n\u003ca href=\"https://www.criterionchannel.com/what-s-up-doc\" target=\"_blank\" rel=\"noopener noreferrer\">Criterion Channel\u003c/a>\u003cbr>\nPeter Bogdanovich’s homage to ’30s screwball comedies is a charming romp up and down San Francisco’s hills. Careening from coincidence to improbability, the movie revels in the comic timing of Barbra Streisand and straight man Ryan O’Neal. Raise a glass to co-screenwriter Buck Henry, who jitterbugged off this mortal coil in January.\u003c/p>\n\u003cp>\u003cb>\u003ci>North Beach\u003c/i>, 2000\u003c/b>\u003cbr>\n\u003ca href=\"https://www.fandor.com/films/north_beach\" target=\"_blank\" rel=\"noopener noreferrer\">Fandor\u003c/a>\u003cbr>\nTelegraph Hill is the picturesque setting for this indie gem that played to a packed Lumiere at a long-ago Indiefest. Casey Peterson (who wrote the clever comic screenplay) wakes up after a one-night stand with a stripper to discover that everyone—including his fiancée—knows about the dirty deed. Co-directors Jed Mortenson and Richard Speight draw naturalistic performances from a coterie of likable twenty-somethings who handle the sparkling banter with brio and aplomb.\u003c/p>\n\u003cp>\u003cb>\u003ci>So I Married an Axe Murderer\u003c/i>, 1993\u003c/b>\u003cbr>\n\u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.e2a9f7b7-0005-82c2-0a27-88b3029c4932\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon and other online rental platforms\u003c/a>\u003cbr>\nThe other comedy that Mike Myers put out in 1993 spun the turnstiles a good deal slower than \u003cem>Wayne’s World 2\u003c/em>. It’s worth a look for its local setting, the star’s dual performances and the weirdly funny supporting cast of Nancy Travis, Anthony LaPaglia, Phil Hartman, Brenda Fricker, Amanda Plummer and Charles Grodin.\u003c/p>\n\u003cp>\u003cb>\u003ci>Bicentennial Man\u003c/i>, 1999\u003c/b>\u003cbr>\n\u003ca href=\"https://play.hbogo.com/feature/urn:hbo:feature:GVYSiTAFbwIqLlS8JADtp\" target=\"_blank\" rel=\"noopener noreferrer\">HBO Go\u003c/a>\u003cbr>\nSix years after \u003cem>Mrs. Doubtfire\u003c/em>, Robin Williams and Chris Columbus paired up again to showcase the Bay Area’s natural and man-made beauty—as envisioned in the near and distant future. This speculative and overly sentimental fiction, adapted from Isaac Asimov’s story, follows a household robot’s progress over two centuries.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ci>Medicine for Melancholy\u003c/i>, 2008\u003c/b>\u003cbr>\n\u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.30a9f7bb-fbd1-13cd-5a9b-bdf1814a3f05\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon and other online rental platforms\u003c/a>\u003cbr>\nBarry Jenkins’ black-and-white debut, shot during the Miami-born director’s time in San Francisco, won the Audience Award at (what was then called) the S.F. International Film Festival. It’s of a piece with his later successes; that is, it’s an artful and piercing character study focused on the acute challenges of being black in America. After spending the night together, Wyatt Cenac and Tracey Heggins stroll around town navigating their awkward connection and the larger picture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ci>After the Thin Man\u003c/i>, 1936\u003c/b>\u003cbr>\n\u003ca href=\"https://www.amazon.com/gp/product/B000LJ60FO\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon and other online rental platforms\u003c/a>\u003cbr>\nThe copyright laws mystify me. How can an 84-year-old film not be in the public domain, and free to all? If you (or your children) have never seen Woody Van Dyke’s terrific S.F.-set sequel (the first of five) to \u003cem>The Thin Man\u003c/em>, his immortal 1934 adaptation of Dashiell Hammett’s novel, mix a pitcher of martinis and curl up with the dog. Urbane amateur detectives Nick and Nora Charles (the sublime William Powell and Mary Astor) are on the case, though assuredly not on the wagon.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Welcome to Week Two of \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">Lockdown Movie Musts\u003c/a>! Featuring weird subgenres of yore that’ll take your mind off, well, (*gestures wildly*) all this.\u003c/p>\n\u003cp>This week, daddy-o, we’re gonna beat feet with the cool cats down to the sock hop for some jivin’ and back seat bingo. That’s right! It’s 1950s teen rebellion movies! And they really do sound like this! [aside postid='arts_13877402']\u003c/p>\n\u003cp>Here, for example, is the very first conversation anyone has in 1958’s \u003ca href=\"https://www.imdb.com/title/tt0051741/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hot Rod Gang\u003c/em>\u003c/a>:\u003c/p>\n\u003cp>\u003cstrong>Jake:\u003c/strong> I’m still convinced the half-drive centrifugal blower will get better power drive.\u003cbr>\n\u003cstrong>Girl 1:\u003c/strong> There he goes with that hot rod Esperanto again. Dissect that mechanical genius and I expect you’ll find spark plugs and multiple parts.\u003cbr>\n\u003cstrong>Girl 2:\u003c/strong> And a super-charger instead of a heart. Maybe he’d give me a tumble if I was a drag wagon!\u003cbr>\n\u003cstrong>Johnny:\u003c/strong> He just doesn’t realize your potential horsepower outlet, baby, that’s all.\u003cbr>\n\u003cstrong>Girl 2:\u003c/strong> All it takes is the right fuel mixture and my RPM reacts like crazy!\u003c/p>\n\u003cp>We’ll get back to these fantastically dressed idiots later.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Let’s start instead, with \u003ca href=\"https://www.imdb.com/title/tt0051725/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>High School Hellcats\u003c/em>\u003c/a>—a high school movie in which no one looks like they’re in high school. This tale concerns Joyce Martin (…pretty sure “Joyce” was 1958’s “Karen”…) who starts at a new school only to get corrupted by a gang of (*checks notes*) hellcats.\u003c/p>\n\u003cp>What we’re supposed to be worried about in this movie is the fact that the gang likes to drink alcohol, hang out in abandoned buildings, impersonate teachers and wear “slacks.” (You wouldn’t believe how much people talk about slacks in this thing!) Which is all rather confusing when there’s such a long list of things to be genuinely concerned about in \u003cem>High School Hellcats\u003c/em>.\u003c/p>\n\u003cp>Respectful of your time, I compiled a short list.\u003c/p>\n\u003col>\n\u003cli>Joyce’s dad is a sociopath. He talks angrily and often about her “tight sweaters” and lipstick, and when she enters the living room in a perfectly prim petticoat, he literally hits her in the face. Total sociopath.\u003c/li>\n\u003cli>Joyce’s love interest is a sociopath. He announces that Joyce is his “girl” approximately five minutes after meeting her, yells at her for having plans with other people, and—best of all!—when one of Joyce’s friends dies suddenly, he says she was “asking for it.” Total sociopath.\u003c/li>\n\u003cli>Everyone at Joyce’s school is a sociopath. In addition to playing party games in which screaming women get groped in the dark, they all abandon the dead body of one of their friends, stay silent about it while she lies undiscovered for a full week, \u003cem>and\u003c/em> lie through their teeth to the police about it! Total sociopaths.\u003c/li>\n\u003cli>Joyce has a raging eating disorder. She skips breakfast because she’s “watching her figure,” lies to her mother about eating dinner and consumes nothing but coffee with no sugar. (In all fairness, it’s no wonder, given all the sociopaths she’s dealing with…) Won’t somebody notice poor, starving Joyce’s cries for help?\u003c/li>\n\u003c/ol>\n\u003cp>https://www.youtube.com/watch?v=EjnJQj0Xt8I\u003c/p>\n\u003cp>It’s almost impossible to care about any of the sociopaths in \u003cem>High School Hellcats\u003c/em>, so the rebellious woman at the center of 1959’s \u003ca href=\"https://www.imdb.com/title/tt0052850/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Girls Town\u003c/em>\u003c/a> is a breath of fresh air by comparison.\u003c/p>\n\u003cp>Silver Morgan (played by Mamie Van Doren) smokes a lot and says things like, “Don’t flip your wig, I’ve got your signal!” and “Go flap your plates!” and, at one particularly baffling point, “Go bingle your bunk!” She refers to the phone as “the Alexander Graham,” and men as “studs,” “daddy-os” and “he-males.” At one point, she puts a potato in one of her stockings and uses it as a weapon.\u003c/p>\n\u003cp>Silver is ridiculous and awesome in equal measure.\u003c/p>\n\u003cp>Less awesome is Silver’s 15-year-old sister, Mary Lee, who fails to report it when the adult man who tries to rape her (in a horrifying opening scene I was \u003cem>not\u003c/em> prepared for) falls off a cliff and dies. Silver—despite being busy at the time seductively kissing a boy at a very surreal make-out party by the river—ends up getting the blame and being sent to a Catholic dormitory for girls.\u003c/p>\n\u003cp>The details of what follows in the rest of the movie really don’t matter much, but just know that there’s a drag race, a private eye, a couple of totally unnecessary musical interludes and, at one point, one girl describing holy water as “plain ordinary water with the hell boiled out of it.” Oh, and the ending is fantastically feminist, which didn’t make me sad.\u003c/p>\n\u003cp>Word of warning though. \u003ca href=\"https://en.wikipedia.org/wiki/Paul_Anka\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Anka\u003c/a> appears in \u003cem>Girls Town\u003c/em> as a dreamboat all the girls swoon and scream over. (One even tries to kill herself because he’s not her boyfriend.) There is no kind way of saying this, but, dude. Even in 1959, Paul Anka was decidedly \u003cem>not\u003c/em> a dreamboat. Watching everyone fawning over him on screen was super confusing until I looked up who he was in real life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jpzY4YCUZH8\u003c/p>\n\u003cp>Similarly confusing to contemporary audiences will be \u003cem>Hot Rod Gang\u003c/em>‘s obsession with Gene Vincent, who appears in the 1958 movie as himself, Gene Vincent. Even the kids in this movie who are supposed to be friends with Gene Vincent refer to him exclusively as “Gene Vincent” in full, lest anyone forget Gene Vincent is in this movie. Gene Vincent, Gene Vincent, Gene Vincent.\u003c/p>\n\u003cp>The movie is otherwise framed around Johnny, a car racin’ rock ‘n’ roller from a fancy family. One day, Johnny hits a puddle and splashes a fancy man from a different fancy family. That fancy man wants Johnny arrested, but instead accidentally introduces his fancy daughter to Johnny, which prompts the two fancy kids to fall in love. (If you’ve ever wanted to watch a movie about rebels in which no one is an underdog, \u003cem>Hot Rod Gang\u003c/em> is for you!)\u003c/p>\n\u003cp>Then, in an apparent bid to make the movie longer, Johnny dons a fake beard and beret and starts a music career with some help from Gene Vincent. (Did I mention Gene Vincent was in this?) There’s also some swing dancing, two fist fights and a stolen hubcap subplot that’s flimsy at best. We’ll leave you with a scene that combines this movie’s three greatest strengths: gratuitous dancing, self-conscious dialog and, yes, Gene Vincent.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7leK7yitWeE\u003c/p>\n\u003cp>YouTube has a wealth of these ’50s teen flicks available for free. (I just did a random grab bag.) Knock yourselves out, hepcats.\u003c/p>\n\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here, for example, is the very first conversation anyone has in 1958’s \u003ca href=\"https://www.imdb.com/title/tt0051741/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hot Rod Gang\u003c/em>\u003c/a>:\u003c/p>\n\u003cp>\u003cstrong>Jake:\u003c/strong> I’m still convinced the half-drive centrifugal blower will get better power drive.\u003cbr>\n\u003cstrong>Girl 1:\u003c/strong> There he goes with that hot rod Esperanto again. Dissect that mechanical genius and I expect you’ll find spark plugs and multiple parts.\u003cbr>\n\u003cstrong>Girl 2:\u003c/strong> And a super-charger instead of a heart. Maybe he’d give me a tumble if I was a drag wagon!\u003cbr>\n\u003cstrong>Johnny:\u003c/strong> He just doesn’t realize your potential horsepower outlet, baby, that’s all.\u003cbr>\n\u003cstrong>Girl 2:\u003c/strong> All it takes is the right fuel mixture and my RPM reacts like crazy!\u003c/p>\n\u003cp>We’ll get back to these fantastically dressed idiots later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Let’s start instead, with \u003ca href=\"https://www.imdb.com/title/tt0051725/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>High School Hellcats\u003c/em>\u003c/a>—a high school movie in which no one looks like they’re in high school. This tale concerns Joyce Martin (…pretty sure “Joyce” was 1958’s “Karen”…) who starts at a new school only to get corrupted by a gang of (*checks notes*) hellcats.\u003c/p>\n\u003cp>What we’re supposed to be worried about in this movie is the fact that the gang likes to drink alcohol, hang out in abandoned buildings, impersonate teachers and wear “slacks.” (You wouldn’t believe how much people talk about slacks in this thing!) Which is all rather confusing when there’s such a long list of things to be genuinely concerned about in \u003cem>High School Hellcats\u003c/em>.\u003c/p>\n\u003cp>Respectful of your time, I compiled a short list.\u003c/p>\n\u003col>\n\u003cli>Joyce’s dad is a sociopath. He talks angrily and often about her “tight sweaters” and lipstick, and when she enters the living room in a perfectly prim petticoat, he literally hits her in the face. Total sociopath.\u003c/li>\n\u003cli>Joyce’s love interest is a sociopath. He announces that Joyce is his “girl” approximately five minutes after meeting her, yells at her for having plans with other people, and—best of all!—when one of Joyce’s friends dies suddenly, he says she was “asking for it.” Total sociopath.\u003c/li>\n\u003cli>Everyone at Joyce’s school is a sociopath. In addition to playing party games in which screaming women get groped in the dark, they all abandon the dead body of one of their friends, stay silent about it while she lies undiscovered for a full week, \u003cem>and\u003c/em> lie through their teeth to the police about it! Total sociopaths.\u003c/li>\n\u003cli>Joyce has a raging eating disorder. She skips breakfast because she’s “watching her figure,” lies to her mother about eating dinner and consumes nothing but coffee with no sugar. (In all fairness, it’s no wonder, given all the sociopaths she’s dealing with…) Won’t somebody notice poor, starving Joyce’s cries for help?\u003c/li>\n\u003c/ol>\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/EjnJQj0Xt8I'\n title='//www.youtube.com/embed/EjnJQj0Xt8I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s almost impossible to care about any of the sociopaths in \u003cem>High School Hellcats\u003c/em>, so the rebellious woman at the center of 1959’s \u003ca href=\"https://www.imdb.com/title/tt0052850/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Girls Town\u003c/em>\u003c/a> is a breath of fresh air by comparison.\u003c/p>\n\u003cp>Silver Morgan (played by Mamie Van Doren) smokes a lot and says things like, “Don’t flip your wig, I’ve got your signal!” and “Go flap your plates!” and, at one particularly baffling point, “Go bingle your bunk!” She refers to the phone as “the Alexander Graham,” and men as “studs,” “daddy-os” and “he-males.” At one point, she puts a potato in one of her stockings and uses it as a weapon.\u003c/p>\n\u003cp>Silver is ridiculous and awesome in equal measure.\u003c/p>\n\u003cp>Less awesome is Silver’s 15-year-old sister, Mary Lee, who fails to report it when the adult man who tries to rape her (in a horrifying opening scene I was \u003cem>not\u003c/em> prepared for) falls off a cliff and dies. Silver—despite being busy at the time seductively kissing a boy at a very surreal make-out party by the river—ends up getting the blame and being sent to a Catholic dormitory for girls.\u003c/p>\n\u003cp>The details of what follows in the rest of the movie really don’t matter much, but just know that there’s a drag race, a private eye, a couple of totally unnecessary musical interludes and, at one point, one girl describing holy water as “plain ordinary water with the hell boiled out of it.” Oh, and the ending is fantastically feminist, which didn’t make me sad.\u003c/p>\n\u003cp>Word of warning though. \u003ca href=\"https://en.wikipedia.org/wiki/Paul_Anka\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Anka\u003c/a> appears in \u003cem>Girls Town\u003c/em> as a dreamboat all the girls swoon and scream over. (One even tries to kill herself because he’s not her boyfriend.) There is no kind way of saying this, but, dude. Even in 1959, Paul Anka was decidedly \u003cem>not\u003c/em> a dreamboat. Watching everyone fawning over him on screen was super confusing until I looked up who he was in real life.\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/jpzY4YCUZH8'\n title='//www.youtube.com/embed/jpzY4YCUZH8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Similarly confusing to contemporary audiences will be \u003cem>Hot Rod Gang\u003c/em>‘s obsession with Gene Vincent, who appears in the 1958 movie as himself, Gene Vincent. Even the kids in this movie who are supposed to be friends with Gene Vincent refer to him exclusively as “Gene Vincent” in full, lest anyone forget Gene Vincent is in this movie. Gene Vincent, Gene Vincent, Gene Vincent.\u003c/p>\n\u003cp>The movie is otherwise framed around Johnny, a car racin’ rock ‘n’ roller from a fancy family. One day, Johnny hits a puddle and splashes a fancy man from a different fancy family. That fancy man wants Johnny arrested, but instead accidentally introduces his fancy daughter to Johnny, which prompts the two fancy kids to fall in love. (If you’ve ever wanted to watch a movie about rebels in which no one is an underdog, \u003cem>Hot Rod Gang\u003c/em> is for you!)\u003c/p>\n\u003cp>Then, in an apparent bid to make the movie longer, Johnny dons a fake beard and beret and starts a music career with some help from Gene Vincent. (Did I mention Gene Vincent was in this?) There’s also some swing dancing, two fist fights and a stolen hubcap subplot that’s flimsy at best. We’ll leave you with a scene that combines this movie’s three greatest strengths: gratuitous dancing, self-conscious dialog and, yes, Gene Vincent.\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/7leK7yitWeE'\n title='//www.youtube.com/embed/7leK7yitWeE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>YouTube has a wealth of these ’50s teen flicks available for free. (I just did a random grab bag.) Knock yourselves out, hepcats.\u003c/p>\n\u003cp>Until next week, stay safe and keep sheltering.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>For other Lockdown Movie Musts, click \u003ca href=\"https://www.kqed.org/arts/tag/lockdown-movie-musts\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"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. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"science-friday": {
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