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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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"title": "Lockdown Movie Musts: 1950s Hot Rods, Hellcats and He-Males",
"headTitle": "Lockdown Movie Musts: 1950s Hot Rods, Hellcats and He-Males | KQED",
"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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"title": "A Guide to Tommy Wiseau's Stages of Quarantine, as Seen in 'The Room'",
"headTitle": "A Guide to Tommy Wiseau’s Stages of Quarantine, as Seen in ‘The Room’ | KQED",
"content": "\u003cp>In the 17 years since its release, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0368226/?ref_=fn_al_tt_2\" target=\"_blank\" rel=\"noopener noreferrer\">The Room\u003c/a>—\u003c/em>considered by fans to be the greatest bad movie ever made\u003cem>—\u003c/em>has found its own kind of strange success.\u003c/p>\n\u003cp>Over the years, it has slowly spawned a dedicated cult following, especially in San Francisco, where it was set. In 2018, after one of its stars (Greg Sestero, who played Mark) co-wrote \u003ca href=\"https://en.wikipedia.org/wiki/The_Disaster_Artist\" target=\"_blank\" rel=\"noopener noreferrer\">a book\u003c/a> about his excruciating experiences on-set, James Franco turned it into an \u003ca href=\"https://www.youtube.com/watch?v=cMKX2tE5Luk\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar-nominated movie\u003c/a>, called \u003cem>The Disaster Artist\u003c/em>.\u003c/p>\n\u003cp>It was notable at the time that Tommy Wiseau, \u003cem>The Room\u003c/em>‘s eccentric writer, director and star, happily took part in promo for \u003cem>The Disaster Artist\u003c/em>, since 85% of the movie is based around pointing and laughing at his overly-confident ineptitude. On Sunday, Wiseau once again proved himself a thoroughly good sport when he posted this handy chart to Twitter:\u003c/p>\n\u003cp>https://twitter.com/TommyWiseau/status/1244330567555887105\u003c/p>\n\u003cp>The stages can be roughly characterized as:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>1 = The “\u003ca href=\"https://www.youtube.com/watch?v=fM7qNm_Mmrw\" target=\"_blank\" rel=\"noopener noreferrer\">You are tearing me apart!\u003c/a>” rage stage\u003cbr>\n2 = The \u003ca href=\"https://www.youtube.com/watch?v=A8KGT9mdN1Y\" target=\"_blank\" rel=\"noopener noreferrer\">There’s Not Even Enough Space To Play With This Football But I’m Gonna Use It Like A Comfort Blanket\u003c/a> stage\u003cbr>\n3 = The “\u003ca href=\"https://www.youtube.com/watch?v=hFLdFUBNjMs\" target=\"_blank\" rel=\"noopener noreferrer\">I’m tired, I’m wasted, I love you darling!\u003c/a>” stage\u003cbr>\n4 = The Laughing In The Face Of Tragedy (a.k.a. the “\u003ca href=\"https://www.youtube.com/watch?v=mIfWMb3riN0&t=28s\" target=\"_blank\" rel=\"noopener noreferrer\">Great Story, Mark\u003c/a>“) stage\u003cbr>\n5 = The \u003ca href=\"https://www.youtube.com/watch?v=4R821QqY8Fs\" target=\"_blank\" rel=\"noopener noreferrer\">Sheer Terror\u003c/a> stage\u003cbr>\n6 = The \u003ca href=\"https://www.youtube.com/watch?v=TeVIom4_Sis\" target=\"_blank\" rel=\"noopener noreferrer\">Getting It On\u003c/a> stage\u003cbr>\n7 = The \u003ca href=\"https://www.youtube.com/watch?v=Jv3MhjSmR3c\" target=\"_blank\" rel=\"noopener noreferrer\">Talking to Yourself\u003c/a> stage\u003cbr>\n8 = The Let’s Go Home, Oh Wait, We Already Are stage, and,\u003cbr>\n9 = The “\u003ca href=\"https://www.youtube.com/watch?v=KIkoXhgtI58\" target=\"_blank\" rel=\"noopener noreferrer\">Oh, Hi Doggie!\u003c/a>”\u003c/p>\n\u003cp>Fans responded \u003ca href=\"https://twitter.com/TommyWiseau/status/1244330567555887105\" target=\"_blank\" rel=\"noopener noreferrer\">in droves\u003c/a> to Wiseau’s query, appreciating the highly effective shorthand on offer, and occasionally coming up with their own.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877782 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.32.56-PM.png\" alt=\"\" width=\"658\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.32.56-PM.png 658w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.32.56-PM-160x134.png 160w\" sizes=\"(max-width: 658px) 100vw, 658px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877783 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.34.01-PM.png\" alt=\"\" width=\"657\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.34.01-PM.png 657w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.34.01-PM-160x110.png 160w\" sizes=\"(max-width: 657px) 100vw, 657px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877786 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.38.43-PM.png\" alt=\"\" width=\"656\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.38.43-PM.png 656w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.38.43-PM-160x114.png 160w\" sizes=\"(max-width: 656px) 100vw, 656px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877788 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.41.42-PM.png\" alt=\"\" width=\"656\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.41.42-PM.png 656w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.41.42-PM-160x98.png 160w\" sizes=\"(max-width: 656px) 100vw, 656px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877789 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.55.38-PM.png\" alt=\"\" width=\"657\" height=\"366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.55.38-PM.png 657w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.55.38-PM-160x89.png 160w\" sizes=\"(max-width: 657px) 100vw, 657px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877787 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.39.38-PM.png\" alt=\"\" width=\"657\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.39.38-PM.png 657w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.39.38-PM-160x109.png 160w\" sizes=\"(max-width: 657px) 100vw, 657px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877784 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.36.02-PM.png\" alt=\"\" width=\"655\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.36.02-PM.png 655w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.36.02-PM-160x104.png 160w\" sizes=\"(max-width: 655px) 100vw, 655px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877790 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-1.02.24-PM.png\" alt=\"\" width=\"657\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-1.02.24-PM.png 657w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-1.02.24-PM-160x109.png 160w\" sizes=\"(max-width: 657px) 100vw, 657px\">\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877785 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.37.19-PM.png\" alt=\"\" width=\"657\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.37.19-PM.png 657w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.37.19-PM-160x109.png 160w\" sizes=\"(max-width: 657px) 100vw, 657px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877792 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-1.06.11-PM.png\" alt=\"\" width=\"657\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-1.06.11-PM.png 657w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-1.06.11-PM-160x108.png 160w\" sizes=\"(max-width: 657px) 100vw, 657px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877811 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-1.33.14-PM.png\" alt=\"\" width=\"656\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-1.33.14-PM.png 656w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-1.33.14-PM-160x109.png 160w\" sizes=\"(max-width: 656px) 100vw, 656px\">\u003c/p>\n\u003cp>If anything can make our current reality seem less baffling, it’s the ever-confusing content of \u003cem>The Room.\u003c/em> If you recognize yourself in any of Wiseau’s quarantine stages, now might be an excellent time to re-watch it, then inevitably feel better about yourself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KRAUPqK9Y7I\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the 17 years since its release, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0368226/?ref_=fn_al_tt_2\" target=\"_blank\" rel=\"noopener noreferrer\">The Room\u003c/a>—\u003c/em>considered by fans to be the greatest bad movie ever made\u003cem>—\u003c/em>has found its own kind of strange success.\u003c/p>\n\u003cp>Over the years, it has slowly spawned a dedicated cult following, especially in San Francisco, where it was set. In 2018, after one of its stars (Greg Sestero, who played Mark) co-wrote \u003ca href=\"https://en.wikipedia.org/wiki/The_Disaster_Artist\" target=\"_blank\" rel=\"noopener noreferrer\">a book\u003c/a> about his excruciating experiences on-set, James Franco turned it into an \u003ca href=\"https://www.youtube.com/watch?v=cMKX2tE5Luk\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar-nominated movie\u003c/a>, called \u003cem>The Disaster Artist\u003c/em>.\u003c/p>\n\u003cp>It was notable at the time that Tommy Wiseau, \u003cem>The Room\u003c/em>‘s eccentric writer, director and star, happily took part in promo for \u003cem>The Disaster Artist\u003c/em>, since 85% of the movie is based around pointing and laughing at his overly-confident ineptitude. On Sunday, Wiseau once again proved himself a thoroughly good sport when he posted this handy chart to Twitter:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The stages can be roughly characterized as:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>1 = The “\u003ca href=\"https://www.youtube.com/watch?v=fM7qNm_Mmrw\" target=\"_blank\" rel=\"noopener noreferrer\">You are tearing me apart!\u003c/a>” rage stage\u003cbr>\n2 = The \u003ca href=\"https://www.youtube.com/watch?v=A8KGT9mdN1Y\" target=\"_blank\" rel=\"noopener noreferrer\">There’s Not Even Enough Space To Play With This Football But I’m Gonna Use It Like A Comfort Blanket\u003c/a> stage\u003cbr>\n3 = The “\u003ca href=\"https://www.youtube.com/watch?v=hFLdFUBNjMs\" target=\"_blank\" rel=\"noopener noreferrer\">I’m tired, I’m wasted, I love you darling!\u003c/a>” stage\u003cbr>\n4 = The Laughing In The Face Of Tragedy (a.k.a. the “\u003ca href=\"https://www.youtube.com/watch?v=mIfWMb3riN0&t=28s\" target=\"_blank\" rel=\"noopener noreferrer\">Great Story, Mark\u003c/a>“) stage\u003cbr>\n5 = The \u003ca href=\"https://www.youtube.com/watch?v=4R821QqY8Fs\" target=\"_blank\" rel=\"noopener noreferrer\">Sheer Terror\u003c/a> stage\u003cbr>\n6 = The \u003ca href=\"https://www.youtube.com/watch?v=TeVIom4_Sis\" target=\"_blank\" rel=\"noopener noreferrer\">Getting It On\u003c/a> stage\u003cbr>\n7 = The \u003ca href=\"https://www.youtube.com/watch?v=Jv3MhjSmR3c\" target=\"_blank\" rel=\"noopener noreferrer\">Talking to Yourself\u003c/a> stage\u003cbr>\n8 = The Let’s Go Home, Oh Wait, We Already Are stage, and,\u003cbr>\n9 = The “\u003ca href=\"https://www.youtube.com/watch?v=KIkoXhgtI58\" target=\"_blank\" rel=\"noopener noreferrer\">Oh, Hi Doggie!\u003c/a>”\u003c/p>\n\u003cp>Fans responded \u003ca href=\"https://twitter.com/TommyWiseau/status/1244330567555887105\" target=\"_blank\" rel=\"noopener noreferrer\">in droves\u003c/a> to Wiseau’s query, appreciating the highly effective shorthand on offer, and occasionally coming up with their own.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877782 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.32.56-PM.png\" alt=\"\" width=\"658\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.32.56-PM.png 658w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.32.56-PM-160x134.png 160w\" sizes=\"(max-width: 658px) 100vw, 658px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877783 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.34.01-PM.png\" alt=\"\" width=\"657\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.34.01-PM.png 657w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.34.01-PM-160x110.png 160w\" sizes=\"(max-width: 657px) 100vw, 657px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" 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656px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877789 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.55.38-PM.png\" alt=\"\" width=\"657\" height=\"366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.55.38-PM.png 657w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.55.38-PM-160x89.png 160w\" sizes=\"(max-width: 657px) 100vw, 657px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877787 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.39.38-PM.png\" alt=\"\" width=\"657\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.39.38-PM.png 657w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.39.38-PM-160x109.png 160w\" sizes=\"(max-width: 657px) 100vw, 657px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877784 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.36.02-PM.png\" alt=\"\" width=\"655\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.36.02-PM.png 655w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.36.02-PM-160x104.png 160w\" sizes=\"(max-width: 655px) 100vw, 655px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877790 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-1.02.24-PM.png\" alt=\"\" width=\"657\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-1.02.24-PM.png 657w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-1.02.24-PM-160x109.png 160w\" sizes=\"(max-width: 657px) 100vw, 657px\">\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877785 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.37.19-PM.png\" alt=\"\" width=\"657\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.37.19-PM.png 657w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-12.37.19-PM-160x109.png 160w\" sizes=\"(max-width: 657px) 100vw, 657px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877792 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-1.06.11-PM.png\" alt=\"\" width=\"657\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-1.06.11-PM.png 657w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-1.06.11-PM-160x108.png 160w\" sizes=\"(max-width: 657px) 100vw, 657px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877811 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-1.33.14-PM.png\" alt=\"\" width=\"656\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-1.33.14-PM.png 656w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-30-at-1.33.14-PM-160x109.png 160w\" sizes=\"(max-width: 656px) 100vw, 656px\">\u003c/p>\n\u003cp>If anything can make our current reality seem less baffling, it’s the ever-confusing content of \u003cem>The Room.\u003c/em> If you recognize yourself in any of Wiseau’s quarantine stages, now might be an excellent time to re-watch it, then inevitably feel better about yourself.\u003c/p>\n\u003cp>\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/KRAUPqK9Y7I'\n title='//www.youtube.com/embed/KRAUPqK9Y7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Bay Area Films Lift the Curtain on Artists’ Lives",
"headTitle": "Now Playing! Bay Area Films Lift the Curtain on Artists’ Lives | KQED",
"content": "\u003cp>The act of creation, from the book of Genesis to your three-year-old’s drawing, is a source of inspiration. Confined to our domiciles, our imaginations crave something with more gravitas than an eight-episode, European-set soap opera or murder mystery. Here are a batch of first-rate films about and by Bay Area artists that will take you out of your head and your house.\u003c/p>\n\u003cp>\u003cb>\u003cem>Adios Amor: The Search for Maria Moreno\u003c/em>, 2018\u003c/b>\u003cbr>\n\u003ca href=\"https://vimeo.com/199842038\" target=\"_blank\" rel=\"noopener noreferrer\">Vimeo\u003c/a>\u003cbr>\nLaurie Coyle’s unearthing of the life and activism of the (no longer) forgotten Latina farm worker Maria Moreno is a bravura political history, a mystery yarn, a family saga and an art film. Coyle’s discovery of a cache of remarkable photographs drives the narrative and infuses the one-hour film with an artist’s grace. Move fast: \u003cem>Adios Amor\u003c/em> streams for free through midnight Wednesday, April 1.\u003c/p>\n\u003cp>\u003cb>\u003cem>Our Time Machine\u003c/em>, 2019\u003c/b>\u003cbr>\n\u003ca href=\"https://reelabilities.org/newyork/film/our-time-machine/\" target=\"_blank\" rel=\"noopener noreferrer\">ReelAbilities Film Festival\u003c/a>\u003cbr>\nS. Leo Chiang’s latest work, co-directed with Yuan Sun, won the documentary competition at CAAMFest last spring among several prizes it’s garnered on its worldwide festival run. The film follows conceptual artist Maleonn as he mounts an ambitious stage production honoring his father, the former director of the Shanghai Chinese Opera Theatre, who has Alzheimer’s. ReelAbilities Film Festival New York (which moved its program online) streams \u003cem>Our Time Machine\u003c/em> this Saturday evening, April 4 at 5:15pm PDT followed by an interactive Q&A with Chiang, all for a mere $6.28.\u003c/p>\n\u003cp>\u003cb>\u003cem>It Came From Kuchar\u003c/em>, 2009\u003c/b>\u003cbr>\n\u003ca href=\"https://www.youtube.com/watch?v=WwZoUX3CxXE\" target=\"_blank\" rel=\"noopener noreferrer\">Truly CA\u003c/a>\u003cbr>\nNew Yorkers George and Mike Kuchar were no-budget pioneers of 8mm underground filmmaking in the ’60s before relocating to the Bay Area in the ’70s. Jennifer M. Kroot, who had been a student of George’s at the San Francisco Art Institute, crafted a wild, wooly and altogether wonderful portrait of the beloved brothers two years before George’s death.\u003c/p>\n\u003cp>\u003cb>\u003cem>The Last Black Man in San Francisco\u003c/em>, 2019\u003c/b>\u003cbr>\n\u003ca href=\"https://www.amazon.com/Last-Black-Man-San-Francisco/dp/B07SD4378X\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime\u003c/a>\u003cbr>\nIf you missed Joe Talbot and Jimmie Falls’ richly resonant ode to San Francisco present and past last year, it takes on a whole other dimension in the present moment. Home (the movie’s main theme) is where \u003cem>everything\u003c/em> is, right now. At the same time, we can all use a cinematic tour of the city. \u003cem>The Last Black Man in San Francisco\u003c/em> makes this list because it centers art and performance, from street rappers to a climactic guerrilla theater piece.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>\u003cem>Big Joy: The Adventures of James Broughton\u003c/em>, 2013\u003c/b>\u003cbr>\n\u003ca href=\"https://www.kqed.org/trulyca/1320/big-joy\" target=\"_blank\" rel=\"noopener noreferrer\">Truly CA\u003c/a>\u003cbr>\n“Follow your own weird.” That was the mantra of poet, filmmaker and sexual radical James Broughton, whose postwar endeavors had a lot to do with making San Francisco safe for Beats, hippies, queers, punks and artists of all persuasions. Eric Slade’s doc is deliriously heady and transporting.\u003c/p>\n\u003cp>\u003cb>\u003cem>Crumb\u003c/em>, 1995\u003c/b>\u003cbr>\n\u003ca href=\"https://www.criterionchannel.com/crumb\" target=\"_blank\" rel=\"noopener noreferrer\">Criterion Channel\u003c/a>\u003cbr>\nThe underground cartoonist Robert Crumb is a problematic figure, given his sexually avaricious drawings of women. But his transparent honesty and unabashed candor—due to his friendship with filmmaker Terry Zwigoff, his Cheap Suit Serenaders bandmate—as well as his obsessive commitment to his art, makes \u003cem>Crumb\u003c/em> rewarding and uncomfortable. Crumb’s agoraphobic brother Charles will break your heart.\u003c/p>\n\u003cp>\u003cb>\u003cem>Forever, Chinatown\u003c/em>, 2016\u003c/b>\u003cbr>\n\u003ca href=\"https://www.kanopy.com/product/forever-chinatown\" target=\"_blank\" rel=\"noopener noreferrer\">Kanopy\u003c/a>\u003cbr>\nFrank Wong constructs exquisitely detailed miniatures of Chinatown rooms fixed in his memory. At 32 minutes, James Q. Chan’s gorgeously shot film is, itself, a small gem. \u003ci>Forever, Chinatown\u003c/i> is a salute to an artist that is itself a work of art.\u003c/p>\n\u003cp>\u003cb>\u003cem>Off the Charts: The Song-Poem Story\u003c/em>, 2003\u003c/b>\u003cbr>\n\u003ca href=\"https://vimeo.com/ondemand/36949\" target=\"_blank\" rel=\"noopener noreferrer\">Vimeo\u003c/a>\u003cbr>\nJamie Metzler’s quirky, funny and infinitely touching 2003 documentary about the amateur wordsmiths who fancied themselves songwriters (and sent their lyrics and checks to post office boxes advertised in the back of comic books and magazines) is one of my favorite films of all time. Out of print and once hard to find, it’s now available to rent for just $3.99 on Vimeo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003cem>Ethnic Notions\u003c/em>, 1987\u003c/b>\u003cbr>\n\u003ca href=\"https://www.kanopy.com/product/ethnic-notions-0\" target=\"_blank\" rel=\"noopener noreferrer\">Kanopy\u003c/a>\u003cbr>\nWay back when, the late, great Marlon Riggs made this revelatory compilation (barrage, is more like it) of mass media and pop culture stereotypes of African Americans from the 1920s to the ’60s. It’s still shocking—and relevant—over three decades later. Essential viewing, but not for the faint of heart.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The act of creation, from the book of Genesis to your three-year-old’s drawing, is a source of inspiration. Confined to our domiciles, our imaginations crave something with more gravitas than an eight-episode, European-set soap opera or murder mystery. Here are a batch of first-rate films about and by Bay Area artists that will take you out of your head and your house.\u003c/p>\n\u003cp>\u003cb>\u003cem>Adios Amor: The Search for Maria Moreno\u003c/em>, 2018\u003c/b>\u003cbr>\n\u003ca href=\"https://vimeo.com/199842038\" target=\"_blank\" rel=\"noopener noreferrer\">Vimeo\u003c/a>\u003cbr>\nLaurie Coyle’s unearthing of the life and activism of the (no longer) forgotten Latina farm worker Maria Moreno is a bravura political history, a mystery yarn, a family saga and an art film. Coyle’s discovery of a cache of remarkable photographs drives the narrative and infuses the one-hour film with an artist’s grace. Move fast: \u003cem>Adios Amor\u003c/em> streams for free through midnight Wednesday, April 1.\u003c/p>\n\u003cp>\u003cb>\u003cem>Our Time Machine\u003c/em>, 2019\u003c/b>\u003cbr>\n\u003ca href=\"https://reelabilities.org/newyork/film/our-time-machine/\" target=\"_blank\" rel=\"noopener noreferrer\">ReelAbilities Film Festival\u003c/a>\u003cbr>\nS. Leo Chiang’s latest work, co-directed with Yuan Sun, won the documentary competition at CAAMFest last spring among several prizes it’s garnered on its worldwide festival run. The film follows conceptual artist Maleonn as he mounts an ambitious stage production honoring his father, the former director of the Shanghai Chinese Opera Theatre, who has Alzheimer’s. ReelAbilities Film Festival New York (which moved its program online) streams \u003cem>Our Time Machine\u003c/em> this Saturday evening, April 4 at 5:15pm PDT followed by an interactive Q&A with Chiang, all for a mere $6.28.\u003c/p>\n\u003cp>\u003cb>\u003cem>It Came From Kuchar\u003c/em>, 2009\u003c/b>\u003cbr>\n\u003ca href=\"https://www.youtube.com/watch?v=WwZoUX3CxXE\" target=\"_blank\" rel=\"noopener noreferrer\">Truly CA\u003c/a>\u003cbr>\nNew Yorkers George and Mike Kuchar were no-budget pioneers of 8mm underground filmmaking in the ’60s before relocating to the Bay Area in the ’70s. Jennifer M. Kroot, who had been a student of George’s at the San Francisco Art Institute, crafted a wild, wooly and altogether wonderful portrait of the beloved brothers two years before George’s death.\u003c/p>\n\u003cp>\u003cb>\u003cem>The Last Black Man in San Francisco\u003c/em>, 2019\u003c/b>\u003cbr>\n\u003ca href=\"https://www.amazon.com/Last-Black-Man-San-Francisco/dp/B07SD4378X\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime\u003c/a>\u003cbr>\nIf you missed Joe Talbot and Jimmie Falls’ richly resonant ode to San Francisco present and past last year, it takes on a whole other dimension in the present moment. Home (the movie’s main theme) is where \u003cem>everything\u003c/em> is, right now. At the same time, we can all use a cinematic tour of the city. \u003cem>The Last Black Man in San Francisco\u003c/em> makes this list because it centers art and performance, from street rappers to a climactic guerrilla theater piece.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003cem>Big Joy: The Adventures of James Broughton\u003c/em>, 2013\u003c/b>\u003cbr>\n\u003ca href=\"https://www.kqed.org/trulyca/1320/big-joy\" target=\"_blank\" rel=\"noopener noreferrer\">Truly CA\u003c/a>\u003cbr>\n“Follow your own weird.” That was the mantra of poet, filmmaker and sexual radical James Broughton, whose postwar endeavors had a lot to do with making San Francisco safe for Beats, hippies, queers, punks and artists of all persuasions. Eric Slade’s doc is deliriously heady and transporting.\u003c/p>\n\u003cp>\u003cb>\u003cem>Crumb\u003c/em>, 1995\u003c/b>\u003cbr>\n\u003ca href=\"https://www.criterionchannel.com/crumb\" target=\"_blank\" rel=\"noopener noreferrer\">Criterion Channel\u003c/a>\u003cbr>\nThe underground cartoonist Robert Crumb is a problematic figure, given his sexually avaricious drawings of women. But his transparent honesty and unabashed candor—due to his friendship with filmmaker Terry Zwigoff, his Cheap Suit Serenaders bandmate—as well as his obsessive commitment to his art, makes \u003cem>Crumb\u003c/em> rewarding and uncomfortable. Crumb’s agoraphobic brother Charles will break your heart.\u003c/p>\n\u003cp>\u003cb>\u003cem>Forever, Chinatown\u003c/em>, 2016\u003c/b>\u003cbr>\n\u003ca href=\"https://www.kanopy.com/product/forever-chinatown\" target=\"_blank\" rel=\"noopener noreferrer\">Kanopy\u003c/a>\u003cbr>\nFrank Wong constructs exquisitely detailed miniatures of Chinatown rooms fixed in his memory. At 32 minutes, James Q. Chan’s gorgeously shot film is, itself, a small gem. \u003ci>Forever, Chinatown\u003c/i> is a salute to an artist that is itself a work of art.\u003c/p>\n\u003cp>\u003cb>\u003cem>Off the Charts: The Song-Poem Story\u003c/em>, 2003\u003c/b>\u003cbr>\n\u003ca href=\"https://vimeo.com/ondemand/36949\" target=\"_blank\" rel=\"noopener noreferrer\">Vimeo\u003c/a>\u003cbr>\nJamie Metzler’s quirky, funny and infinitely touching 2003 documentary about the amateur wordsmiths who fancied themselves songwriters (and sent their lyrics and checks to post office boxes advertised in the back of comic books and magazines) is one of my favorite films of all time. Out of print and once hard to find, it’s now available to rent for just $3.99 on Vimeo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003cem>Ethnic Notions\u003c/em>, 1987\u003c/b>\u003cbr>\n\u003ca href=\"https://www.kanopy.com/product/ethnic-notions-0\" target=\"_blank\" rel=\"noopener noreferrer\">Kanopy\u003c/a>\u003cbr>\nWay back when, the late, great Marlon Riggs made this revelatory compilation (barrage, is more like it) of mass media and pop culture stereotypes of African Americans from the 1920s to the ’60s. It’s still shocking—and relevant—over three decades later. Essential viewing, but not for the faint of heart.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lockdown Movie Musts: 1970s Roller Disco Movies (No, Really)",
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"content": "\u003cp>Picture it: Patrick Swayze in bell bottoms and a leather vest (no shirt, naturally), waving his own belt around like a whip while doing a dance routine on roller skates. He spins on his knees \u003cem>and\u003c/em> butt! He kicks—front, back, side—because he’s a wild man! He even does something approaching jump rope! (You kind of have to see it to comprehend it.)\u003c/p>\n\u003cp>This is but one three-minute scene from 1979’s \u003ca href=\"https://www.imdb.com/title/tt0079912/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Skatetown USA\u003c/em>\u003c/a>—a gift of a movie that forces the viewer to ask “Was this \u003cem>ever\u003c/em> cool?” and “Really though?” repeatedly, throughout.\u003c/p>\n\u003cp>The movie’s pun-tastic trailer tantalizingly promises that it’s “The greatest story ever rolled.” While I can categorically confirm that this is an outright lie (and also that the film contains a shocking amount of female objectification), it\u003cem> is\u003c/em> almost impossible to have a bad time watching this damn thing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2oOWydfiy-I&list=PLgtTy63SfSacRP7okouXg_VEworQFKn2L\u003c/p>\n\u003cp>Allow me to backtrack for a moment. A month ago, if you plopped me down in front of a TV for a few hours, I would more than likely be watching true crime rehashings, documentaries about cults, and post-apocalyptic sci-fi doom in which my favorite characters could die at any moment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But that was 2020 BC*. (*Before Coronavirus.)\u003c/p>\n\u003cp>Once lockdown kicked in, anxiety and insomnia quickly followed, and I was forced to seek out any and all media that would take my mind off the worldwide nightmare unfolding. (Previously, I would have simply turned to my old pal \u003ca href=\"https://www.youtube.com/watch?v=7rO7QMlCh6Q\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Friends\u003c/em>\u003c/a>, but Netflix took that away at the dawn of 2020—a harbinger of doom to start the year, now that I think about it.)\u003c/p>\n\u003cp>So now—I won’t bore you with the steps of exactly how I got here—I’m neck-deep in roller disco movies, and desperate to drag everyone else down into the sequined maelstrom with me. Partly because it’s less awkward than being in here alone, and partly because I genuinely think other people need to see this. (Not in a majestic \u003ca href=\"https://www.youtube.com/watch?v=tiVNk6_0GdY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Planet Earth\u003c/em>\u003c/a> sort of way; more like a monkey smoking cigarettes in the 1930s kinda thing. You know this sort of thing happened, but you don’t truly believe it until you see it for yourself.)\u003c/p>\n\u003cp>Anyway! Here’s the plot of \u003cem>Skatetown USA\u003c/em>: People like to roller skate at a roller rink. Two male skaters—Ace, the first bad guy in history to wear a bedazzled pink crop top, and Stan, a good guy who dresses \u003cem>exactly\u003c/em> like Flash Gordon—both want to win a roller skating competition.\u003c/p>\n\u003cp>That’s it. That’s the whole plot.\u003c/p>\n\u003cp>Sure, there’s some judge blackmail, and some girls, and some Scott Baio business, but the edgiest this movie gets is when a guy dressed as Uncle Sam (stars and stripes, top hat and all) gets light shined in his eyes mid-roller skate routine and falls over. (There is also a game of chicken on motorized roller skates, but I won’t spoil that for you.)\u003c/p>\n\u003cp>\u003cem>Skatetown USA\u003c/em> is absolutely amazing viewing (\u003ca href=\"https://www.dictionary.com/browse/amazing?s=t\" target=\"_blank\" rel=\"noopener noreferrer\">amazing\u003c/a> in the literal sense of the word) in a time of global crisis. So naturally, after watching it, I immediately turned to its partner in 1979 cinematic crime, \u003ca href=\"https://www.imdb.com/title/tt0079822/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Roller Boogie\u003c/em>\u003c/a>. I initially (foolishly) presumed that it might have a little more substance. Especially since it stars everyone’s favorite \u003ca href=\"https://www.youtube.com/watch?v=sZazSFEHfg8\" target=\"_blank\" rel=\"noopener noreferrer\">demon-child, Linda Blair\u003c/a>, in the lead roll. (\u003cem>See what I did there?\u003c/em>)\u003c/p>\n\u003cp>However, much to my joy, \u003cem>Roller Boogie\u003c/em> is just as gloriously, mind-numbingly stupid as \u003cem>Skatetown USA\u003c/em>. Linda Blair—most famous for shouting “Your mother sucks c–ks in hell” at a priest—here wears special skates that look like they don’t have any laces, along with a series of rad leotards, one of which is white with tassels.\u003c/p>\n\u003cp>Every single thing that happens in this film is ridiculous. Just watch the opening sequence if you need evidence. (You’ll never look at Venice Beach or dumpster-based make-out sessions the same way again.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b0cEF_p8KT8\u003c/p>\n\u003cp>(And yes, since you ask, that \u003cem>is\u003c/em> Cher singing. The song was called “Hell on Wheels” and it peaked at only number 59 on the Billboard charts, despite Cher doing some excellent \u003ca href=\"https://www.youtube.com/watch?v=rW_kIlaU41Y\" target=\"_blank\" rel=\"noopener noreferrer\">roller skating in some excellent cycling shorts\u003c/a> in the video. You’re welcome!)\u003c/p>\n\u003cp>One of the fun things about \u003cem>Roller Boogie\u003c/em> is that the stakes are even lower than they were in \u003cem>Skatetown USA\u003c/em>—and that’s quite a feat. The plot to \u003cem>Roller Boogie\u003c/em> goes like this: Terry (fancy girl) and Bobby (unfancy boy) want to win a roller skating contest. So they do.\u003c/p>\n\u003cp>That’s it. That’s the end.\u003c/p>\n\u003cp>The most tension I felt watching this thing was concern over whether or not Linda Blair could actually roller skate, since I’m fairly sure no one bothered to teach her. Mostly what happens when she’s wearing skates is that she’s either physically dragged along by someone else, or a body double skates from far away, or Bobby picks her up and she just planks all over him.\u003c/p>\n\u003cp>Please do not underestimate how mesmerizing it is to watch Bobby, the stunt double and Linda’s white tassels do all the hard work for Linda. Just look how much she is \u003cem>not\u003c/em> skating here:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SzN46y_kS_Y\u003c/p>\n\u003cp>It would be remiss, of course, for me to talk about roller skating movies of this period without bringing up the most famous of them all: \u003cem>Xanadu\u003c/em>. \u003cem>Xanadu\u003c/em> is my least favorite of the bunch (despite it featuring a pair of knee-high roller skates) specifically because it has something approaching a plot.\u003c/p>\n\u003cp>Sure, it’s a plot about an Olivia Newton-John-shaped painting coming to life, and an artist dude teaming up with Gene Kelly to open a club, but a plot it unmistakably is. (For some utterly baffling reason, this movie thinks that Club Owner is a nicer job than Artist.) To make matters worse, this movie is packed to the gills with song and dance numbers that make you feel like you ate shrooms. People living inside walls, arguing with God, turning into cartoons—it’s a total nightmare from start to finish.\u003c/p>\n\u003cp>Don’t get me started on how many of these dance numbers don’t even include roller skates. Just look at this mess:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jG-ElxxSU5E\u003c/p>\n\u003cp>In the end, it doesn’t matter if you love or hate any of these movies. (I definitely hated \u003cem>Xanadu\u003c/em>.) What matters is that all three have the miraculous ability to take you out of reality for a few hours. And, at this point, that’s even more magical than a shirtless Patrick Swayze at a roller rink.\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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"excerpt": "Trying to turn your brain off in a life-threatening global crisis? 'Skatetown USA,' 'Roller Boogie' and 'Xanadu' are here to help!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Picture it: Patrick Swayze in bell bottoms and a leather vest (no shirt, naturally), waving his own belt around like a whip while doing a dance routine on roller skates. He spins on his knees \u003cem>and\u003c/em> butt! He kicks—front, back, side—because he’s a wild man! He even does something approaching jump rope! (You kind of have to see it to comprehend it.)\u003c/p>\n\u003cp>This is but one three-minute scene from 1979’s \u003ca href=\"https://www.imdb.com/title/tt0079912/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Skatetown USA\u003c/em>\u003c/a>—a gift of a movie that forces the viewer to ask “Was this \u003cem>ever\u003c/em> cool?” and “Really though?” repeatedly, throughout.\u003c/p>\n\u003cp>The movie’s pun-tastic trailer tantalizingly promises that it’s “The greatest story ever rolled.” While I can categorically confirm that this is an outright lie (and also that the film contains a shocking amount of female objectification), it\u003cem> is\u003c/em> almost impossible to have a bad time watching this damn thing.\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/2oOWydfiy-I'\n title='//www.youtube.com/embed/2oOWydfiy-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Allow me to backtrack for a moment. A month ago, if you plopped me down in front of a TV for a few hours, I would more than likely be watching true crime rehashings, documentaries about cults, and post-apocalyptic sci-fi doom in which my favorite characters could die at any moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But that was 2020 BC*. (*Before Coronavirus.)\u003c/p>\n\u003cp>Once lockdown kicked in, anxiety and insomnia quickly followed, and I was forced to seek out any and all media that would take my mind off the worldwide nightmare unfolding. (Previously, I would have simply turned to my old pal \u003ca href=\"https://www.youtube.com/watch?v=7rO7QMlCh6Q\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Friends\u003c/em>\u003c/a>, but Netflix took that away at the dawn of 2020—a harbinger of doom to start the year, now that I think about it.)\u003c/p>\n\u003cp>So now—I won’t bore you with the steps of exactly how I got here—I’m neck-deep in roller disco movies, and desperate to drag everyone else down into the sequined maelstrom with me. Partly because it’s less awkward than being in here alone, and partly because I genuinely think other people need to see this. (Not in a majestic \u003ca href=\"https://www.youtube.com/watch?v=tiVNk6_0GdY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Planet Earth\u003c/em>\u003c/a> sort of way; more like a monkey smoking cigarettes in the 1930s kinda thing. You know this sort of thing happened, but you don’t truly believe it until you see it for yourself.)\u003c/p>\n\u003cp>Anyway! Here’s the plot of \u003cem>Skatetown USA\u003c/em>: People like to roller skate at a roller rink. Two male skaters—Ace, the first bad guy in history to wear a bedazzled pink crop top, and Stan, a good guy who dresses \u003cem>exactly\u003c/em> like Flash Gordon—both want to win a roller skating competition.\u003c/p>\n\u003cp>That’s it. That’s the whole plot.\u003c/p>\n\u003cp>Sure, there’s some judge blackmail, and some girls, and some Scott Baio business, but the edgiest this movie gets is when a guy dressed as Uncle Sam (stars and stripes, top hat and all) gets light shined in his eyes mid-roller skate routine and falls over. (There is also a game of chicken on motorized roller skates, but I won’t spoil that for you.)\u003c/p>\n\u003cp>\u003cem>Skatetown USA\u003c/em> is absolutely amazing viewing (\u003ca href=\"https://www.dictionary.com/browse/amazing?s=t\" target=\"_blank\" rel=\"noopener noreferrer\">amazing\u003c/a> in the literal sense of the word) in a time of global crisis. So naturally, after watching it, I immediately turned to its partner in 1979 cinematic crime, \u003ca href=\"https://www.imdb.com/title/tt0079822/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Roller Boogie\u003c/em>\u003c/a>. I initially (foolishly) presumed that it might have a little more substance. Especially since it stars everyone’s favorite \u003ca href=\"https://www.youtube.com/watch?v=sZazSFEHfg8\" target=\"_blank\" rel=\"noopener noreferrer\">demon-child, Linda Blair\u003c/a>, in the lead roll. (\u003cem>See what I did there?\u003c/em>)\u003c/p>\n\u003cp>However, much to my joy, \u003cem>Roller Boogie\u003c/em> is just as gloriously, mind-numbingly stupid as \u003cem>Skatetown USA\u003c/em>. Linda Blair—most famous for shouting “Your mother sucks c–ks in hell” at a priest—here wears special skates that look like they don’t have any laces, along with a series of rad leotards, one of which is white with tassels.\u003c/p>\n\u003cp>Every single thing that happens in this film is ridiculous. Just watch the opening sequence if you need evidence. (You’ll never look at Venice Beach or dumpster-based make-out sessions the same way again.)\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/b0cEF_p8KT8'\n title='//www.youtube.com/embed/b0cEF_p8KT8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>(And yes, since you ask, that \u003cem>is\u003c/em> Cher singing. The song was called “Hell on Wheels” and it peaked at only number 59 on the Billboard charts, despite Cher doing some excellent \u003ca href=\"https://www.youtube.com/watch?v=rW_kIlaU41Y\" target=\"_blank\" rel=\"noopener noreferrer\">roller skating in some excellent cycling shorts\u003c/a> in the video. You’re welcome!)\u003c/p>\n\u003cp>One of the fun things about \u003cem>Roller Boogie\u003c/em> is that the stakes are even lower than they were in \u003cem>Skatetown USA\u003c/em>—and that’s quite a feat. The plot to \u003cem>Roller Boogie\u003c/em> goes like this: Terry (fancy girl) and Bobby (unfancy boy) want to win a roller skating contest. So they do.\u003c/p>\n\u003cp>That’s it. That’s the end.\u003c/p>\n\u003cp>The most tension I felt watching this thing was concern over whether or not Linda Blair could actually roller skate, since I’m fairly sure no one bothered to teach her. Mostly what happens when she’s wearing skates is that she’s either physically dragged along by someone else, or a body double skates from far away, or Bobby picks her up and she just planks all over him.\u003c/p>\n\u003cp>Please do not underestimate how mesmerizing it is to watch Bobby, the stunt double and Linda’s white tassels do all the hard work for Linda. Just look how much she is \u003cem>not\u003c/em> skating here:\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/SzN46y_kS_Y'\n title='//www.youtube.com/embed/SzN46y_kS_Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It would be remiss, of course, for me to talk about roller skating movies of this period without bringing up the most famous of them all: \u003cem>Xanadu\u003c/em>. \u003cem>Xanadu\u003c/em> is my least favorite of the bunch (despite it featuring a pair of knee-high roller skates) specifically because it has something approaching a plot.\u003c/p>\n\u003cp>Sure, it’s a plot about an Olivia Newton-John-shaped painting coming to life, and an artist dude teaming up with Gene Kelly to open a club, but a plot it unmistakably is. (For some utterly baffling reason, this movie thinks that Club Owner is a nicer job than Artist.) To make matters worse, this movie is packed to the gills with song and dance numbers that make you feel like you ate shrooms. People living inside walls, arguing with God, turning into cartoons—it’s a total nightmare from start to finish.\u003c/p>\n\u003cp>Don’t get me started on how many of these dance numbers don’t even include roller skates. Just look at this mess:\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/jG-ElxxSU5E'\n title='//www.youtube.com/embed/jG-ElxxSU5E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the end, it doesn’t matter if you love or hate any of these movies. (I definitely hated \u003cem>Xanadu\u003c/em>.) What matters is that all three have the miraculous ability to take you out of reality for a few hours. And, at this point, that’s even more magical than a shirtless Patrick Swayze at a roller rink.\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": "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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"tagline": "Art is where you find it",
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"soldout": {
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