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"content": "\u003cp>Our main squeeze Cy Musiker is away, which means Suzie Racho is the orange juice to my Champagne for this week’s Do List. We’re talking about three erstwhile traditions in San Francisco — Noir City, Sketchfest and Noise Pop — and a few outliers that caught our eye. All are smooth as a morning cocktail.\u003c/p>\n\u003cp>On with the show!\u003c/p>\n\u003cp>\u003cstrong>Now through Jan. 28\u003c/strong>: There’s some \u003ca href=\"https://ww2.kqed.org/arts/2018/01/17/80s-movies-cabaret-jazz-and-made-up-musicals/\" rel=\"noopener\" target=\"_blank\">offbeat musical mayhem happening at Sketchfest\u003c/a> this year, with Jeff Goldblum, Kevin McDonald and more.\u003c/p>\n\u003cp>\u003cstrong>Jan. 24\u003c/strong>: He sings. He plays. He rambles about aliens. \u003ca href=\"https://ww2.kqed.org/arts/2018/01/17/the-glittery-space-obsessed-reggae-producer-ahead-of-his-time/\" rel=\"noopener\" target=\"_blank\">He’s Lee “Scratch” Perry, and he’s the most innovative thing to happen to the studio remix\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>Jan. 25–28\u003c/strong>: How does one choreograph a show about midcentury modern furniture? For Kristin Damrow, \u003ca href=\"https://ww2.kqed.org/arts/2018/01/17/a-new-dance-show-about-ray-and-charles-eames/\" rel=\"noopener\" target=\"_blank\">Ray and Charles Eames serve as perfect inspiration\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 26–Feb. 4\u003c/strong>: You ain’t seen nothin’ ’til you’ve seen a film at \u003ca href=\"https://ww2.kqed.org/arts/2018/01/17/on-the-big-screen-noir-tales-from-the-cold-hard-streets/\" rel=\"noopener\" target=\"_blank\">Noir City, the grittiest little long-running film noir festival in town\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 19–25\u003c/strong>: Bending with the zeitgeist, \u003ca href=\"https://ww2.kqed.org/arts/2018/01/05/complete-noise-pop-lineup-is-here-now-with-extra-rap-and-rb/\" rel=\"noopener\" target=\"_blank\">Noise Pop has added some rappers and R&B artists\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Our main squeeze Cy Musiker is away, which means Suzie Racho is the orange juice to my Champagne for this week’s Do List. We’re talking about three erstwhile traditions in San Francisco — Noir City, Sketchfest and Noise Pop — and a few outliers that caught our eye. All are smooth as a morning cocktail.\u003c/p>\n\u003cp>On with the show!\u003c/p>\n\u003cp>\u003cstrong>Now through Jan. 28\u003c/strong>: There’s some \u003ca href=\"https://ww2.kqed.org/arts/2018/01/17/80s-movies-cabaret-jazz-and-made-up-musicals/\" rel=\"noopener\" target=\"_blank\">offbeat musical mayhem happening at Sketchfest\u003c/a> this year, with Jeff Goldblum, Kevin McDonald and more.\u003c/p>\n\u003cp>\u003cstrong>Jan. 24\u003c/strong>: He sings. He plays. He rambles about aliens. \u003ca href=\"https://ww2.kqed.org/arts/2018/01/17/the-glittery-space-obsessed-reggae-producer-ahead-of-his-time/\" rel=\"noopener\" target=\"_blank\">He’s Lee “Scratch” Perry, and he’s the most innovative thing to happen to the studio remix\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>Jan. 25–28\u003c/strong>: How does one choreograph a show about midcentury modern furniture? For Kristin Damrow, \u003ca href=\"https://ww2.kqed.org/arts/2018/01/17/a-new-dance-show-about-ray-and-charles-eames/\" rel=\"noopener\" target=\"_blank\">Ray and Charles Eames serve as perfect inspiration\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 26–Feb. 4\u003c/strong>: You ain’t seen nothin’ ’til you’ve seen a film at \u003ca href=\"https://ww2.kqed.org/arts/2018/01/17/on-the-big-screen-noir-tales-from-the-cold-hard-streets/\" rel=\"noopener\" target=\"_blank\">Noir City, the grittiest little long-running film noir festival in town\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 19–25\u003c/strong>: Bending with the zeitgeist, \u003ca href=\"https://ww2.kqed.org/arts/2018/01/05/complete-noise-pop-lineup-is-here-now-with-extra-rap-and-rb/\" rel=\"noopener\" target=\"_blank\">Noise Pop has added some rappers and R&B artists\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of our favorite events in San Francisco is an annual celebration of mystery and intrigue: the Noir City festival, getting underway this year on Jan. 26 at the Castro Theater. This year’s lineup of film noir includes \u003cem>The Big Heat\u003c/em> with Glenn Ford & Gloria Grahame; \u003cem>The Underworld Story\u003c/em>, about a small-town newspaper; and Veronica Lake and Alan Ladd in a terrific pair of films, \u003cem>Blue Dahlia\u003c/em> and \u003cem>This Gun for Hire\u003c/em>.\u003c/p>\n\u003cp>Noir City is one of those festivals that you almost can’t go to just once. The screenings are full of backstory and context from presenters, and there are always movies that even the most hardcore film buff hasn’t ever seen. Of course, the familiar movies are fun to watch too; I love \u003cem>Shadow of a Doubt\u003c/em>, filmed in my hometown, Santa Rosa, in the 1940s. With so many changes going on in Santa Rosa lately — the Courthouse Square reunification, the SMART Train, and of course the fires — it’s a fantastic capture of what the city used to be like in 1943, dark underbelly and all. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HHEu5vXUusc\u003c/p>\n\u003cp>But Noir City is really all about the obscure noir films that slipped through the cracks – the festival organizers even fund restorations of 35mm prints. This year brings the debut of a restoration of \u003cem>The Man Who Cheated Himself\u003c/em>, with Lee J. Cobb and Jane Wyatt, from 1950 (above). The 16th annual Noir City Festival runs Jan. 26–Feb. 4 at the Castro Theatre. \u003ca href=\"http://www.noircity.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of our favorite events in San Francisco is an annual celebration of mystery and intrigue: the Noir City festival, getting underway this year on Jan. 26 at the Castro Theater. This year’s lineup of film noir includes \u003cem>The Big Heat\u003c/em> with Glenn Ford & Gloria Grahame; \u003cem>The Underworld Story\u003c/em>, about a small-town newspaper; and Veronica Lake and Alan Ladd in a terrific pair of films, \u003cem>Blue Dahlia\u003c/em> and \u003cem>This Gun for Hire\u003c/em>.\u003c/p>\n\u003cp>Noir City is one of those festivals that you almost can’t go to just once. The screenings are full of backstory and context from presenters, and there are always movies that even the most hardcore film buff hasn’t ever seen. Of course, the familiar movies are fun to watch too; I love \u003cem>Shadow of a Doubt\u003c/em>, filmed in my hometown, Santa Rosa, in the 1940s. With so many changes going on in Santa Rosa lately — the Courthouse Square reunification, the SMART Train, and of course the fires — it’s a fantastic capture of what the city used to be like in 1943, dark underbelly and 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/HHEu5vXUusc'\n title='//www.youtube.com/embed/HHEu5vXUusc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Noir City is really all about the obscure noir films that slipped through the cracks – the festival organizers even fund restorations of 35mm prints. This year brings the debut of a restoration of \u003cem>The Man Who Cheated Himself\u003c/em>, with Lee J. Cobb and Jane Wyatt, from 1950 (above). The 16th annual Noir City Festival runs Jan. 26–Feb. 4 at the Castro Theatre. \u003ca href=\"http://www.noircity.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! John Hawkes Wades into ‘Small Town Crime’",
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"content": "\u003cp>The quintessential protagonist of modern movie morality plays is the fatalistic, borderline unethical private eye. From Sam Spade to J.J. Gittes, from Philip Marlowe to Easy Rawlins, they fit a certain mold: Cynical, self-reliant guys whose daily immersion in the world of vice has eroded their belief in justice. Then a case comes along, inevitably involving a female client, that lights their honest path back to civilization.\u003c/p>\n\u003cp>Ex-cop Mike Kendall (John Hawkes), the low-key hero of brothers Eshom and Ian Nelms’ enjoyable indie slugfest \u003cem>Small Town Crime\u003c/em> (opening Friday, Jan. 19 at the \u003ca href=\"https://www.lntsf.com/presidio/\" target=\"_blank\" rel=\"noopener\">Presidio\u003c/a>), wasn’t burned out by bribes and betrayals. His tenure on the force was short-circuited by an addiction to booze. So Kendall is unemployed and hung over, but his sense of right and wrong — and his observation skills — are intact.\u003c/p>\n\u003cp>https://youtu.be/c63I7rjWcYw\u003c/p>\n\u003cp>This lack of ambiguity makes Kendall a less conflicted and therefore less interesting figure, but Hawkes’ wry likability puts us in his corner. When Kendall sees a woman’s body on the side of the open road (Utah doubling for California), he isn’t content to let his old police cohorts handle the case. He may harbor a long-shot hope that he’ll get rehired if he proves his diligence and competence, but his real bottom line is that finding the murderer is the right thing to do.\u003c/p>\n\u003cp>Kendall’s the kind of private eye who downs his beers and shots without the pretense of a moral dilemma to work through. He doesn’t smoke, which places the movie in the 21st century, but there’s a more explicit contemporary touch: His sister, Kelly (an acerbic Octavia Spencer), is black. The backstory is that Mike was adopted as a child by her family, so their colorblind rapport is believable — though the Nelmses could have played a lot more with a color-aware audience’s expectations.\u003c/p>\n\u003cfigure id=\"attachment_13819277\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200.jpg\" alt=\"Octavia Spence and John Hawkes in 'Small Town Crime.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13819277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Octavia Spence and John Hawkes in ‘Small Town Crime.’ \u003ccite>(Photo by Steve Olpin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As it is, the extent of the social commentary in \u003cem>Small Town Crime\u003c/em> is to suggest that white-collar nouveau riche types have no qualms about hiring hit men to bury their crimes. The Elmes brothers are conscientious enough to account for every stray character and smart enough to connect every plot strand, but they don’t deliver the subplots or subtext of cinematic crime storytellers such as the Coen Brothers, Quentin Tarantino, Taylor Sheridan (\u003cem>Hell or High Water\u003c/em>, \u003cem>Wind River\u003c/em>) or Martin McDonagh.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That said, \u003cem>Small Town Crime\u003c/em> is an entertaining genre piece with uncommon heart and soul, and sufficient action and sordid insinuations. Hawkes keeps us rooting for Kendall through the climactic showdown to the epilogue, when the door swings wide open for the now-established private eye to return in another flick or a TV series.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\u003ci>‘Small Town Crime’ opens at the Presidio Theater in San Francisco on Jan. 19. For more information, \u003ca href=\"https://www.lntsf.com/presidio/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The quintessential protagonist of modern movie morality plays is the fatalistic, borderline unethical private eye. From Sam Spade to J.J. Gittes, from Philip Marlowe to Easy Rawlins, they fit a certain mold: Cynical, self-reliant guys whose daily immersion in the world of vice has eroded their belief in justice. Then a case comes along, inevitably involving a female client, that lights their honest path back to civilization.\u003c/p>\n\u003cp>Ex-cop Mike Kendall (John Hawkes), the low-key hero of brothers Eshom and Ian Nelms’ enjoyable indie slugfest \u003cem>Small Town Crime\u003c/em> (opening Friday, Jan. 19 at the \u003ca href=\"https://www.lntsf.com/presidio/\" target=\"_blank\" rel=\"noopener\">Presidio\u003c/a>), wasn’t burned out by bribes and betrayals. His tenure on the force was short-circuited by an addiction to booze. So Kendall is unemployed and hung over, but his sense of right and wrong — and his observation skills — are intact.\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/c63I7rjWcYw'\n title='//www.youtube.com/embed/c63I7rjWcYw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This lack of ambiguity makes Kendall a less conflicted and therefore less interesting figure, but Hawkes’ wry likability puts us in his corner. When Kendall sees a woman’s body on the side of the open road (Utah doubling for California), he isn’t content to let his old police cohorts handle the case. He may harbor a long-shot hope that he’ll get rehired if he proves his diligence and competence, but his real bottom line is that finding the murderer is the right thing to do.\u003c/p>\n\u003cp>Kendall’s the kind of private eye who downs his beers and shots without the pretense of a moral dilemma to work through. He doesn’t smoke, which places the movie in the 21st century, but there’s a more explicit contemporary touch: His sister, Kelly (an acerbic Octavia Spencer), is black. The backstory is that Mike was adopted as a child by her family, so their colorblind rapport is believable — though the Nelmses could have played a lot more with a color-aware audience’s expectations.\u003c/p>\n\u003cfigure id=\"attachment_13819277\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200.jpg\" alt=\"Octavia Spence and John Hawkes in 'Small Town Crime.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13819277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/STC-Octavia-Spencer-John-Hawkes-Credit-Steve-Olpin-IMG_2854_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Octavia Spence and John Hawkes in ‘Small Town Crime.’ \u003ccite>(Photo by Steve Olpin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As it is, the extent of the social commentary in \u003cem>Small Town Crime\u003c/em> is to suggest that white-collar nouveau riche types have no qualms about hiring hit men to bury their crimes. The Elmes brothers are conscientious enough to account for every stray character and smart enough to connect every plot strand, but they don’t deliver the subplots or subtext of cinematic crime storytellers such as the Coen Brothers, Quentin Tarantino, Taylor Sheridan (\u003cem>Hell or High Water\u003c/em>, \u003cem>Wind River\u003c/em>) or Martin McDonagh.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That said, \u003cem>Small Town Crime\u003c/em> is an entertaining genre piece with uncommon heart and soul, and sufficient action and sordid insinuations. Hawkes keeps us rooting for Kendall through the climactic showdown to the epilogue, when the door swings wide open for the now-established private eye to return in another flick or a TV series.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\u003ci>‘Small Town Crime’ opens at the Presidio Theater in San Francisco on Jan. 19. For more information, \u003ca href=\"https://www.lntsf.com/presidio/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tender 'Film Stars Don’t Die' Shaped by Memories and Sorrow",
"headTitle": "Tender ‘Film Stars Don’t Die’ Shaped by Memories and Sorrow | KQED",
"content": "\u003cp>When Peter Turner met Gloria Grahame in 1979, her Hollywood career was over. At the time, the 27-year-old Liverpudlian was a struggling actor looking for work in London. When she moved into a flat in his boarding house, he didn’t recognize the Oscar-winning actress from her starring roles in classic films like \u003cem>In a Lonely Place\u003c/em> (1950) with Humphrey Bogart or \u003cem>The Bad and the Beautiful\u003c/em> (1952). What he did pay attention to was their mutual attraction, despite the 28-year age gap between them.\u003c/p>\n\u003cp>Paul McGuigan’s movie \u003cem>Film Stars Don’t Die in Liverpool\u003c/em>, based on Turner’s memoir, dramatizes their romance, break-up and the illness that drew her back to him. Speaking over the phone from his home in Scotland, the director of action films like \u003cem>Lucky Number Slevin\u003c/em> and \u003cem>Gangster No. 1\u003c/em> talks about making a film in a quieter genre, one that seems, from his resume at least, uncharacteristically tender and restrained. But McGuigan offers a corrective to that assessment.\u003c/p>\n\u003cfigure id=\"attachment_13818913\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818913\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/4_director.jpg\" alt=\"Left to right: Annette Bening, Jamie Bell and director Paul McGuigan on the set of 'Film Stars Don't Die in Liverpool.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Annette Bening, Jamie Bell and director Paul McGuigan on the set of ‘Film Stars Don’t Die in Liverpool.’ \u003ccite>(Photo by Susie Allnutt, Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of his previous films the director says, “They’ve all had an emotional center to them. I’m a 50-year-old man so I understand heartache, love, lust. Plus the screenplay had it, and Peter’s story was so muddied with the emotionality.” In Turner’s memoir, Grahame was the pivotal figure in his life.\u003c/p>\n\u003cp>McGuigan understood what that meant for him. “We’ve all met someone who has changed our lives, and for good or for bad,” he says. “But he wasn’t really wanting to write a book. It was more free flowing, from one memory into another memory.”\u003c/p>\n\u003cp>The director created a visual equivalent to mimic the way memories ebb and flow in Turner’s mind. “I wanted the audience to be taken in this journey. I didn’t want to break the spell,” McGuigan explains. “I wanted to build sets that were back-to-back to each other so that either Jamie Bell (Peter Turner) or Annette Bening (Gloria Grahame) could walk through their memory. The camera basically never cuts. It’s quite theatrical in its concept.”\u003c/p>\n\u003cfigure id=\"attachment_13818915\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818915\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/2_mirror.jpg\" alt=\"Annette Bening as Gloria Grahame.\" width=\"1200\" height=\"798\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-520x346.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Annette Bening as Gloria Grahame. \u003ccite>(Photo by Susie Allnutt, Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One example of this technique happens in a scene where Turner sits in his parents’ house, about to call Grahame’s son in California. McGuigan recalls, “We built, for instance, the Liverpool house onto the Los Angeles airport arrivals terminal. The idea was that suddenly he’s talking about an American phone number to contact the family about Grahame’s illness. And then suddenly he remembers his first time arriving in Los Angeles [to visit her] and boom, you’re straight into it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the camera follows him, we become particularly attuned to Turner’s grief because of this fluidity between the past — before Grahame’s death — and, afterwards, as he mourns her absence.\u003c/p>\n\u003cp>“When I first met Annette for the part, the first thing she said to me, which rang true, was, ‘I don’t want this to be about an old lady dying in a room. I don’t want it to be sentimental’,” McGuigan says. “I was like, that’s brilliant because that’s really what I was gonna say as well. You don’t need to be putting the violins down, you don’t need to be putting big scores down, it’s a very simple story in its truth. But it’s a timeless story, isn’t it, people falling in love.”\u003c/p>\n\u003cfigure id=\"attachment_13818912\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818912\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/3_telephone.jpg\" alt=\"Jamie Bell as Peter Turner.\" width=\"1200\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-520x346.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Bell as Peter Turner. \u003ccite>(Photo by Susie Allnutt, Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bening’s great scene in the film comes in a close-up, when she finally accepts the gravity of her condition. As much as the movie is Peter’s story, her work in such scenes convinced McGuigan to include more of Gloria’s perspective. “The cinematographer, Urszula Pontikos, who operated the camera, I remember her taking the camera away and she was in floods of tears,” the director says. “She had to go away for 10 minutes. It was obviously too much. That’s when I knew that very moment was the scene where we changed the point of view into Gloria’s.”\u003c/p>\n\u003cp>McGuigan first experimented with translating a character’s unspoken thoughts to the audience while directing several episodes of the recent TV series \u003cem>Sherlock\u003c/em> (starring Benedict Cumberbatch). “With \u003cem>Sherlock\u003c/em>, we used the text up on the screen and we used all these different layers of visualizations,” he says. “It’s breaking the fourth wall a little bit because you’re showing the mechanics of how something works rather than hiding it.”\u003c/p>\n\u003cp>\u003cem>Film Stars Don’t Die in Liverpool\u003c/em> too finds a way to break the fourth wall without canceling out our willing suspension of disbelief. But it’s the lack of one other ingredient — saccharine — that makes the emotional life of a film about a faded movie star feel true and real.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>‘Film Stars Don’t Die in Liverpool’ opens Friday, Jan. 12 at the Landmark Clay Theatre in San Francisco and Jan. 19 at theaters in Berkeley, Palo Alto, Pleasant Hill and San Rafael. For more information, \u003ca href=\"https://www.landmarktheatres.com/san-francisco/clay-theatre/film-info/film-stars-dont-die-in-liverpool\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Talking with director Paul McGuigan about age, attraction, and his new film about the love affair of the final days of Hollywood star Gloria Grahame. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Peter Turner met Gloria Grahame in 1979, her Hollywood career was over. At the time, the 27-year-old Liverpudlian was a struggling actor looking for work in London. When she moved into a flat in his boarding house, he didn’t recognize the Oscar-winning actress from her starring roles in classic films like \u003cem>In a Lonely Place\u003c/em> (1950) with Humphrey Bogart or \u003cem>The Bad and the Beautiful\u003c/em> (1952). What he did pay attention to was their mutual attraction, despite the 28-year age gap between them.\u003c/p>\n\u003cp>Paul McGuigan’s movie \u003cem>Film Stars Don’t Die in Liverpool\u003c/em>, based on Turner’s memoir, dramatizes their romance, break-up and the illness that drew her back to him. Speaking over the phone from his home in Scotland, the director of action films like \u003cem>Lucky Number Slevin\u003c/em> and \u003cem>Gangster No. 1\u003c/em> talks about making a film in a quieter genre, one that seems, from his resume at least, uncharacteristically tender and restrained. But McGuigan offers a corrective to that assessment.\u003c/p>\n\u003cfigure id=\"attachment_13818913\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818913\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/4_director.jpg\" alt=\"Left to right: Annette Bening, Jamie Bell and director Paul McGuigan on the set of 'Film Stars Don't Die in Liverpool.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/4_director-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Annette Bening, Jamie Bell and director Paul McGuigan on the set of ‘Film Stars Don’t Die in Liverpool.’ \u003ccite>(Photo by Susie Allnutt, Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of his previous films the director says, “They’ve all had an emotional center to them. I’m a 50-year-old man so I understand heartache, love, lust. Plus the screenplay had it, and Peter’s story was so muddied with the emotionality.” In Turner’s memoir, Grahame was the pivotal figure in his life.\u003c/p>\n\u003cp>McGuigan understood what that meant for him. “We’ve all met someone who has changed our lives, and for good or for bad,” he says. “But he wasn’t really wanting to write a book. It was more free flowing, from one memory into another memory.”\u003c/p>\n\u003cp>The director created a visual equivalent to mimic the way memories ebb and flow in Turner’s mind. “I wanted the audience to be taken in this journey. I didn’t want to break the spell,” McGuigan explains. “I wanted to build sets that were back-to-back to each other so that either Jamie Bell (Peter Turner) or Annette Bening (Gloria Grahame) could walk through their memory. The camera basically never cuts. It’s quite theatrical in its concept.”\u003c/p>\n\u003cfigure id=\"attachment_13818915\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818915\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/2_mirror.jpg\" alt=\"Annette Bening as Gloria Grahame.\" width=\"1200\" height=\"798\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/2_mirror-520x346.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Annette Bening as Gloria Grahame. \u003ccite>(Photo by Susie Allnutt, Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One example of this technique happens in a scene where Turner sits in his parents’ house, about to call Grahame’s son in California. McGuigan recalls, “We built, for instance, the Liverpool house onto the Los Angeles airport arrivals terminal. The idea was that suddenly he’s talking about an American phone number to contact the family about Grahame’s illness. And then suddenly he remembers his first time arriving in Los Angeles [to visit her] and boom, you’re straight into it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the camera follows him, we become particularly attuned to Turner’s grief because of this fluidity between the past — before Grahame’s death — and, afterwards, as he mourns her absence.\u003c/p>\n\u003cp>“When I first met Annette for the part, the first thing she said to me, which rang true, was, ‘I don’t want this to be about an old lady dying in a room. I don’t want it to be sentimental’,” McGuigan says. “I was like, that’s brilliant because that’s really what I was gonna say as well. You don’t need to be putting the violins down, you don’t need to be putting big scores down, it’s a very simple story in its truth. But it’s a timeless story, isn’t it, people falling in love.”\u003c/p>\n\u003cfigure id=\"attachment_13818912\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818912\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/3_telephone.jpg\" alt=\"Jamie Bell as Peter Turner.\" width=\"1200\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/3_telephone-520x346.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Bell as Peter Turner. \u003ccite>(Photo by Susie Allnutt, Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bening’s great scene in the film comes in a close-up, when she finally accepts the gravity of her condition. As much as the movie is Peter’s story, her work in such scenes convinced McGuigan to include more of Gloria’s perspective. “The cinematographer, Urszula Pontikos, who operated the camera, I remember her taking the camera away and she was in floods of tears,” the director says. “She had to go away for 10 minutes. It was obviously too much. That’s when I knew that very moment was the scene where we changed the point of view into Gloria’s.”\u003c/p>\n\u003cp>McGuigan first experimented with translating a character’s unspoken thoughts to the audience while directing several episodes of the recent TV series \u003cem>Sherlock\u003c/em> (starring Benedict Cumberbatch). “With \u003cem>Sherlock\u003c/em>, we used the text up on the screen and we used all these different layers of visualizations,” he says. “It’s breaking the fourth wall a little bit because you’re showing the mechanics of how something works rather than hiding it.”\u003c/p>\n\u003cp>\u003cem>Film Stars Don’t Die in Liverpool\u003c/em> too finds a way to break the fourth wall without canceling out our willing suspension of disbelief. But it’s the lack of one other ingredient — saccharine — that makes the emotional life of a film about a faded movie star feel true and real.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>‘Film Stars Don’t Die in Liverpool’ opens Friday, Jan. 12 at the Landmark Clay Theatre in San Francisco and Jan. 19 at theaters in Berkeley, Palo Alto, Pleasant Hill and San Rafael. For more information, \u003ca href=\"https://www.landmarktheatres.com/san-francisco/clay-theatre/film-info/film-stars-dont-die-in-liverpool\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'In The Fade': A Fine Central Performance, An Uncertain Ending",
"headTitle": "‘In The Fade’: A Fine Central Performance, An Uncertain Ending | KQED",
"content": "\u003cp>Poignant and complex if occasionally frustrating, Fatih Akin’s \u003cem>In the Fade\u003c/em> is the story of a marriage. Not a conventional one, as the director announces with a prologue in which white-suited Nuri (Numan Acar) struts through a lineup of wedding-day well-wishers to meet his much-tattooed bride, Katja (Diane Kruger). Nuri’s pals are fellow inmates, and the ceremony is performed in a prison classroom.\u003c/p>\n\u003cp>Nuri was a drug dealer, and Katja met him as a client during her college days. Years later, the couple has become more bourgeois. They have a six-year-old son, Rocco (Rafael Santana), and Nuri runs an office where he assists other people of Turkish and Kurdish origin with their taxes, the German language, and other complications of living in Hamburg.\u003c/p>\n\u003cfigure id=\"attachment_13818976\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/1_1200.jpg\" alt=\"Diane Kruger, Numan Acar, Denis Moschitto and Samia Chancrin in 'In the Fade.'\" width=\"2048\" height=\"1152\" class=\"size-full wp-image-13818976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-520x293.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Diane Kruger, Numan Acar, Denis Moschitto and Samia Chancrin in ‘In the Fade.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is familiar territory for \u003cem>Head-On\u003c/em> director Akin, who’s of Turkish descent but was born in Hamburg. Many of his films are set in the city, and they often involve cross-cultural romance, drugs, and rock’n’roll. \u003cem>In the Fade\u003c/em> is named for a song by Queens of the Stone Age, whose Joshua Homme composed the movie’s incidental music. The songs on the soundtrack come from several continents, but they’re all in English.\u003c/p>\n\u003cp>Akin divides the tale into three chapters, the first two of which are ironically titled. In “Family,” Katja returns from an excursion to find that her husband’s office was bombed. Nuri and Rocco are dead, and Katja must deal with her own grief was well as the demands and recriminations of her mother and in-laws.\u003c/p>\n\u003cp>The police arrive soon, which leads to part two, “Justice.” Set mostly in a courtroom, the chapter pits Katja and her loyal attorney (Denis Moschitto) against two neo-Nazis and their smirking counsel. (Co-writer Hark Bohm, a lawyer, was enlisted for this sequence.) The episode is fascinating, infuriating, and — when a forensic scientist describes Rocco’s injuries — harrowing.\u003c/p>\n\u003cfigure id=\"attachment_13818978\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/6_1200.jpg\" alt=\"Diane Kruger in 'In the Fade.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13818978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Diane Kruger in ‘In the Fade.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trial’s verdict disappoints Katja, which sets up the last part, “The Sea.” Newly inscribed with a tattoo of a samurai, the widow travels to Greece on the trail of the couple accused of killing Nuri and Rocco. She seeks revenge, but is ambivalent about her quest. That’s her problem. Akin’s is that any possible outcome indulges either vigilantism or despair (or perhaps both).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Narratively, the final act doesn’t work. Thematically, it’s more interesting. \u003cem>In the Fade\u003c/em> was inspired by the story of the \u003ca href=\"https://www.npr.org/2011/11/17/142466439/discovery-of-neo-nazi-crime-spree-roils-germany\">National Socialist Underground\u003c/a>, a neo-Nazi network accused in a series of murders of immigrants as well as the murder of a policewoman in Germany in the 2000s. The police who investigate Nuri’s death want to know if he was involved with Islamic terrorists. But not all violence slots into ideological categories.\u003c/p>\n\u003cp>\u003cem>In the Fade\u003c/em> boasts an assured sense of style and a meticulously constructed script. Moments that initially appear to be asides turn out to be essential, and the final scenes of the first two chapters are vivid and startling. But its top attraction is the performance that won Kruger the best actress award at Cannes.\u003c/p>\n\u003cfigure id=\"attachment_13818979\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/7_1200.jpg\" alt=\"Diane Kruger in 'In the Fade.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13818979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Diane Kruger in ‘In the Fade.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The multilingual Kruger is known for playing characters who are poised, detached, and sometimes literally — as in \u003cem>Farewell, My Queen\u003c/em> — regal. Here, she’s believably scruffy and out of control, buffeted by emotion and circumstance. She lurches from chain-smoking to cocaine-snorting to thoughts of suicide, but is capable of tremendous acts of will when they’re required.\u003c/p>\n\u003cp>Will, however, may not be enough. Katja is still living the story of a marriage that’s over, and struggling to write the conclusion. \u003cem>In the Fade\u003c/em> suggests, perhaps unintentionally, that there is no satisfactory ending.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Poignant and complex if occasionally frustrating, Fatih Akin’s \u003cem>In the Fade\u003c/em> is the story of a marriage. Not a conventional one, as the director announces with a prologue in which white-suited Nuri (Numan Acar) struts through a lineup of wedding-day well-wishers to meet his much-tattooed bride, Katja (Diane Kruger). Nuri’s pals are fellow inmates, and the ceremony is performed in a prison classroom.\u003c/p>\n\u003cp>Nuri was a drug dealer, and Katja met him as a client during her college days. Years later, the couple has become more bourgeois. They have a six-year-old son, Rocco (Rafael Santana), and Nuri runs an office where he assists other people of Turkish and Kurdish origin with their taxes, the German language, and other complications of living in Hamburg.\u003c/p>\n\u003cfigure id=\"attachment_13818976\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/1_1200.jpg\" alt=\"Diane Kruger, Numan Acar, Denis Moschitto and Samia Chancrin in 'In the Fade.'\" width=\"2048\" height=\"1152\" class=\"size-full wp-image-13818976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/1_1200-520x293.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Diane Kruger, Numan Acar, Denis Moschitto and Samia Chancrin in ‘In the Fade.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is familiar territory for \u003cem>Head-On\u003c/em> director Akin, who’s of Turkish descent but was born in Hamburg. Many of his films are set in the city, and they often involve cross-cultural romance, drugs, and rock’n’roll. \u003cem>In the Fade\u003c/em> is named for a song by Queens of the Stone Age, whose Joshua Homme composed the movie’s incidental music. The songs on the soundtrack come from several continents, but they’re all in English.\u003c/p>\n\u003cp>Akin divides the tale into three chapters, the first two of which are ironically titled. In “Family,” Katja returns from an excursion to find that her husband’s office was bombed. Nuri and Rocco are dead, and Katja must deal with her own grief was well as the demands and recriminations of her mother and in-laws.\u003c/p>\n\u003cp>The police arrive soon, which leads to part two, “Justice.” Set mostly in a courtroom, the chapter pits Katja and her loyal attorney (Denis Moschitto) against two neo-Nazis and their smirking counsel. (Co-writer Hark Bohm, a lawyer, was enlisted for this sequence.) The episode is fascinating, infuriating, and — when a forensic scientist describes Rocco’s injuries — harrowing.\u003c/p>\n\u003cfigure id=\"attachment_13818978\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/6_1200.jpg\" alt=\"Diane Kruger in 'In the Fade.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13818978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/6_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Diane Kruger in ‘In the Fade.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trial’s verdict disappoints Katja, which sets up the last part, “The Sea.” Newly inscribed with a tattoo of a samurai, the widow travels to Greece on the trail of the couple accused of killing Nuri and Rocco. She seeks revenge, but is ambivalent about her quest. That’s her problem. Akin’s is that any possible outcome indulges either vigilantism or despair (or perhaps both).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Narratively, the final act doesn’t work. Thematically, it’s more interesting. \u003cem>In the Fade\u003c/em> was inspired by the story of the \u003ca href=\"https://www.npr.org/2011/11/17/142466439/discovery-of-neo-nazi-crime-spree-roils-germany\">National Socialist Underground\u003c/a>, a neo-Nazi network accused in a series of murders of immigrants as well as the murder of a policewoman in Germany in the 2000s. The police who investigate Nuri’s death want to know if he was involved with Islamic terrorists. But not all violence slots into ideological categories.\u003c/p>\n\u003cp>\u003cem>In the Fade\u003c/em> boasts an assured sense of style and a meticulously constructed script. Moments that initially appear to be asides turn out to be essential, and the final scenes of the first two chapters are vivid and startling. But its top attraction is the performance that won Kruger the best actress award at Cannes.\u003c/p>\n\u003cfigure id=\"attachment_13818979\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/7_1200.jpg\" alt=\"Diane Kruger in 'In the Fade.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13818979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/7_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Diane Kruger in ‘In the Fade.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The multilingual Kruger is known for playing characters who are poised, detached, and sometimes literally — as in \u003cem>Farewell, My Queen\u003c/em> — regal. Here, she’s believably scruffy and out of control, buffeted by emotion and circumstance. She lurches from chain-smoking to cocaine-snorting to thoughts of suicide, but is capable of tremendous acts of will when they’re required.\u003c/p>\n\u003cp>Will, however, may not be enough. Katja is still living the story of a marriage that’s over, and struggling to write the conclusion. \u003cem>In the Fade\u003c/em> suggests, perhaps unintentionally, that there is no satisfactory ending.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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\n\u003c/div>\u003c/p>",
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"title": "The Star Wars 'Cantina Theme' Played on the... Pencil?!",
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"content": "\u003cp>Well, this is the best 16-second video you’ll watch today: the Star Wars “Cantina Theme” performed by a girl writing a math equation with a pencil.\u003c/p>\n\u003cp>I would explain, but… just watch:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jcghl0lbDSk\u003c/p>\n\u003cp>Says Dani Ochoa, creator of this genius mathematical cross-discipline remix: “I spent way too much time figuring this out.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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 fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Well, this is the best 16-second video you’ll watch today: the Star Wars “Cantina Theme” performed by a girl writing a math equation with a pencil.\u003c/p>\n\u003cp>I would explain, but… just watch:\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/Jcghl0lbDSk'\n title='//www.youtube.com/embed/Jcghl0lbDSk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Says Dani Ochoa, creator of this genius mathematical cross-discipline remix: “I spent way too much time figuring this out.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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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"title": "At BAMPFA, Ida Lupino Gets Her Due as Actor and Auteur",
"headTitle": "At BAMPFA, Ida Lupino Gets Her Due as Actor and Auteur | KQED",
"content": "\u003cp>Smart money says Ida Lupino never fell for a Hollywood ending. Acting was her family’s trade, and she was pushed into movies early, cast as an adolescent minx in a few British productions before getting gobbled up by Paramount and Warner Brothers as the “poor man’s Bette Davis” — her words, and the kind of ostensibly self-deprecating remark that threatens to give the whole game away. \u003c/p>\n\u003cp>Of Hollywood’s factory line, she reported: “Boredom sets in, which is a bad thing.” Remarkably, she did something about it: first turning down a long-term acting contract and then striking out with husband Collier Young to form the independent production venture for which she would direct a handful of fine-tuned variations on the social-problem formula. \u003c/p>\n\u003cp>A \u003ca href=\"https://bampfa.org/program/ida-lupino-hard-fast-and-beautiful\" rel=\"noopener\" target=\"_blank\">BAMPFA retrospective\u003c/a> on this month and next illuminates both sides of Lupino’s extraordinary life in movies. “Bored” certainly isn’t the word for her glowering onscreen presence, though something of her confessed impatience is evident in her knack for turning a film inside out. The whole center of gravity of Raoul Walsh’s \u003cem>\u003ca href=\"https://bampfa.org/event/high-sierra-2\" rel=\"noopener\" target=\"_blank\">High Sierra\u003c/a>\u003c/em> (1941) seems to shift the moment her character imposes herself on Bogart’s seasoned stickup man in a dingy motel room. A gritty striver on the run from her ordinary, awful life as a dancer, she sizes up the heist group’s dynamics faster than any of the men, grabbing at her best chance for escape and making it stick. \u003c/p>\n\u003cfigure id=\"attachment_13818805\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200.jpg\" alt=\"Still from Raoul Walsh's 'They Drive by Night,' 1940.\" width=\"1200\" height=\"890\" class=\"size-full wp-image-13818805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-520x386.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Raoul Walsh’s ‘They Drive by Night,’ 1940. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lupino’s role as a blind recluse who redeems Robert Ryan’s raging cop in Nicholas Ray’s imperishable \u003cem>\u003ca href=\"https://bampfa.org/event/dangerous-ground-2\" rel=\"noopener\" target=\"_blank\">On Dangerous Ground\u003c/a>\u003c/em> (1951) looks hopeless on paper, but she finds a dozen clever ways to shade the character’s self-reliance with stubborn pride, thereby mirroring the Ryan character’s alienation rather than offsetting it. And then there is her star-making performance in Walsh’s \u003cem>\u003ca href=\"https://bampfa.org/event/they-drive-night-3\" rel=\"noopener\" target=\"_blank\">They Drive By Night\u003c/a>\u003c/em> (1940), where Lupino singlehandedly — and joyously — throws a wrench into a rollicking proletarian drama. Her low-rent Lady Macbeth first appears draped across her husband’s desk, playing different registers for the two men present and plainly relishing her character’s self-regard. In all Hollywood villainy, there is little to compare with the devious look her character shoots the camera after getting away with murder. Walsh sensibly cedes the entire screen to this magnificent touch of evil. \u003c/p>\n\u003cp>The critic Manny Farber, always attuned to the pleasure of a scene-stealing actor, applauded Lupino’s penchant for working from “the basic realization that life is hard, severe and bitter,” and this same cutting intelligence is evident in her work as a director. Lupino found freedom in constraint, working fast and cheap off the bounce of a hot-button issue or ripped-from-the-headlines yarn. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://bampfa.org/event/outrage-1\" rel=\"noopener\" target=\"_blank\">Outrage\u003c/a>\u003c/em> (1950), the first of Lupino’s own films showing in the BAMPFA series — and in a rare print from the British Film Archive at that — is a fine place to start. Tiptoeing around the Hays Code, this 75-minute programmer patiently details a rape victim’s psychological unraveling. The assault itself is done in heavy shades of German expressionism, as if the film’s all-American gal had suddenly been dropped in Fritz Lang’s \u003cem>M\u003c/em> (1931). The geometric rendering is classic noir and cues the audience’s expectation for an investigation, but Lupino steers away from the thrill of the chase. To the contrary, \u003cem>Outrage\u003c/em> works against the whole premise that such an attack can ever be set right. A key sequence deploys a slow camera movement to register every passing glance tracking the girl’s initial reentry back into her anodyne middle class milieu. Whether pitied or scorned, she is every bit the outcast, a precursor to the drifter figures found in Barbara Loden’s \u003cem>Wanda\u003c/em> (1970), Agnès Varda’s \u003cem>Vagabond\u003c/em> (1985), and Kelly Reichardt’s \u003cem>Wendy and Lucy\u003c/em> (2008). \u003c/p>\n\u003cfigure id=\"attachment_13818802\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200.jpg\" alt=\"Still from Ida Lupino's 'The Bigamist,' 1953.\" width=\"1200\" height=\"864\" class=\"size-full wp-image-13818802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-1180x850.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-960x691.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-375x270.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-520x374.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Ida Lupino’s ‘The Bigamist,’ 1953. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another highlight in the BAMPFA series is \u003ca href=\"https://bampfa.org/event/bigamist-4\" rel=\"noopener\" target=\"_blank\">The Bigamist\u003c/a> (1953), a film that shows off Lupino’s adroitness in simultaneously capitalizing on and undercutting a salacious premise. Edmond O’Brien is the titular two-timer, an everyman so accustomed to being passed over that he looks as if he might not recognize himself in the mirror. The character splits his life between an entrepreneurial marriage and a working-class romance, with the big reveal coming when an investigator espies O’Brien shushing a baby to sleep because his second wife (played by Lupino) is sick in bed — hardly the stuff of a torrid potboiler. \u003c/p>\n\u003cp>Among other things, \u003cem>The Bigamist\u003c/em> suggests that classical Hollywood would have produced more tough-minded, unsentimental melodramas if only more women had been asked to direct.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\u003ci>‘Ida Lupino: Hard, Fast, and Beautiful’ plays at the Berkeley Art Museum and Pacific Film Archive Jan. 13 – Feb. 24, 2018. For tickets and more information, \u003ca href=\"https://bampfa.org/program/ida-lupino-hard-fast-and-beautiful\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "A month-long retrospective honors Ida Lupino as a scene-stealing actor who carried the same cutting intelligence into her work as a director.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Smart money says Ida Lupino never fell for a Hollywood ending. Acting was her family’s trade, and she was pushed into movies early, cast as an adolescent minx in a few British productions before getting gobbled up by Paramount and Warner Brothers as the “poor man’s Bette Davis” — her words, and the kind of ostensibly self-deprecating remark that threatens to give the whole game away. \u003c/p>\n\u003cp>Of Hollywood’s factory line, she reported: “Boredom sets in, which is a bad thing.” Remarkably, she did something about it: first turning down a long-term acting contract and then striking out with husband Collier Young to form the independent production venture for which she would direct a handful of fine-tuned variations on the social-problem formula. \u003c/p>\n\u003cp>A \u003ca href=\"https://bampfa.org/program/ida-lupino-hard-fast-and-beautiful\" rel=\"noopener\" target=\"_blank\">BAMPFA retrospective\u003c/a> on this month and next illuminates both sides of Lupino’s extraordinary life in movies. “Bored” certainly isn’t the word for her glowering onscreen presence, though something of her confessed impatience is evident in her knack for turning a film inside out. The whole center of gravity of Raoul Walsh’s \u003cem>\u003ca href=\"https://bampfa.org/event/high-sierra-2\" rel=\"noopener\" target=\"_blank\">High Sierra\u003c/a>\u003c/em> (1941) seems to shift the moment her character imposes herself on Bogart’s seasoned stickup man in a dingy motel room. A gritty striver on the run from her ordinary, awful life as a dancer, she sizes up the heist group’s dynamics faster than any of the men, grabbing at her best chance for escape and making it stick. \u003c/p>\n\u003cfigure id=\"attachment_13818805\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200.jpg\" alt=\"Still from Raoul Walsh's 'They Drive by Night,' 1940.\" width=\"1200\" height=\"890\" class=\"size-full wp-image-13818805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Walsh_They-Drive-by-Night_001_1200-520x386.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Raoul Walsh’s ‘They Drive by Night,’ 1940. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lupino’s role as a blind recluse who redeems Robert Ryan’s raging cop in Nicholas Ray’s imperishable \u003cem>\u003ca href=\"https://bampfa.org/event/dangerous-ground-2\" rel=\"noopener\" target=\"_blank\">On Dangerous Ground\u003c/a>\u003c/em> (1951) looks hopeless on paper, but she finds a dozen clever ways to shade the character’s self-reliance with stubborn pride, thereby mirroring the Ryan character’s alienation rather than offsetting it. And then there is her star-making performance in Walsh’s \u003cem>\u003ca href=\"https://bampfa.org/event/they-drive-night-3\" rel=\"noopener\" target=\"_blank\">They Drive By Night\u003c/a>\u003c/em> (1940), where Lupino singlehandedly — and joyously — throws a wrench into a rollicking proletarian drama. Her low-rent Lady Macbeth first appears draped across her husband’s desk, playing different registers for the two men present and plainly relishing her character’s self-regard. In all Hollywood villainy, there is little to compare with the devious look her character shoots the camera after getting away with murder. Walsh sensibly cedes the entire screen to this magnificent touch of evil. \u003c/p>\n\u003cp>The critic Manny Farber, always attuned to the pleasure of a scene-stealing actor, applauded Lupino’s penchant for working from “the basic realization that life is hard, severe and bitter,” and this same cutting intelligence is evident in her work as a director. Lupino found freedom in constraint, working fast and cheap off the bounce of a hot-button issue or ripped-from-the-headlines yarn. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://bampfa.org/event/outrage-1\" rel=\"noopener\" target=\"_blank\">Outrage\u003c/a>\u003c/em> (1950), the first of Lupino’s own films showing in the BAMPFA series — and in a rare print from the British Film Archive at that — is a fine place to start. Tiptoeing around the Hays Code, this 75-minute programmer patiently details a rape victim’s psychological unraveling. The assault itself is done in heavy shades of German expressionism, as if the film’s all-American gal had suddenly been dropped in Fritz Lang’s \u003cem>M\u003c/em> (1931). The geometric rendering is classic noir and cues the audience’s expectation for an investigation, but Lupino steers away from the thrill of the chase. To the contrary, \u003cem>Outrage\u003c/em> works against the whole premise that such an attack can ever be set right. A key sequence deploys a slow camera movement to register every passing glance tracking the girl’s initial reentry back into her anodyne middle class milieu. Whether pitied or scorned, she is every bit the outcast, a precursor to the drifter figures found in Barbara Loden’s \u003cem>Wanda\u003c/em> (1970), Agnès Varda’s \u003cem>Vagabond\u003c/em> (1985), and Kelly Reichardt’s \u003cem>Wendy and Lucy\u003c/em> (2008). \u003c/p>\n\u003cfigure id=\"attachment_13818802\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200.jpg\" alt=\"Still from Ida Lupino's 'The Bigamist,' 1953.\" width=\"1200\" height=\"864\" class=\"size-full wp-image-13818802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-1180x850.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-960x691.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-375x270.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lupino_Bigamist_001_1200-520x374.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Ida Lupino’s ‘The Bigamist,’ 1953. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another highlight in the BAMPFA series is \u003ca href=\"https://bampfa.org/event/bigamist-4\" rel=\"noopener\" target=\"_blank\">The Bigamist\u003c/a> (1953), a film that shows off Lupino’s adroitness in simultaneously capitalizing on and undercutting a salacious premise. Edmond O’Brien is the titular two-timer, an everyman so accustomed to being passed over that he looks as if he might not recognize himself in the mirror. The character splits his life between an entrepreneurial marriage and a working-class romance, with the big reveal coming when an investigator espies O’Brien shushing a baby to sleep because his second wife (played by Lupino) is sick in bed — hardly the stuff of a torrid potboiler. \u003c/p>\n\u003cp>Among other things, \u003cem>The Bigamist\u003c/em> suggests that classical Hollywood would have produced more tough-minded, unsentimental melodramas if only more women had been asked to direct.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\u003ci>‘Ida Lupino: Hard, Fast, and Beautiful’ plays at the Berkeley Art Museum and Pacific Film Archive Jan. 13 – Feb. 24, 2018. For tickets and more information, \u003ca href=\"https://bampfa.org/program/ida-lupino-hard-fast-and-beautiful\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Marvel’s \u003cem>Black Panther\u003c/em> hits theaters Feb. 15, and the original comic book is experiencing a renaissance in popularity. But it’s historically been slim pickings for African American comic book fans looking for representation in those colorful panels.\u003c/span>\u003c/p>\n\u003cp>Which makes the 4th annual Black Comix Arts Festival, running Jan. 13-15, a much-needed intervention in the often racially homogeneous world of science fiction, comics and fantasy. The lineup looks dazzling, including science fiction author \u003ca href=\"http://nnedi.com/\" target=\"_blank\" rel=\"noopener\">Nnedi Okorafor\u003c/a>, tapped to write the new Black Panther series \u003cem>Long Live the King. \u003c/em>Also speaking is John Jennings, one of the illustrators, and Tony Medina, the writer, for \u003ca href=\"https://www.leeandlow.com/books/i-am-alfonso-jones\" target=\"_blank\" rel=\"noopener\">\u003cem>I Am Alfonso Jones\u003c/em>\u003c/a>\u003ci>,\u003c/i> a terrific graphic novel from Lee and Low about the Black Lives Matter movement. And look for one of my favorite Bay Area illustrators, Ajuan Mance, a Mills professor who has posted a series of online portraits called \u003ca href=\"http://8-rock.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>One Thousand and One Black Men\u003c/em>\u003c/a>. If you like cosplay, this seems a good time to try out that Luke Cage, Falcon, or Black Panther costume. Details for the Black Comix Arts Festival are \u003ca href=\"http://sfmlkday.org/bcafcon/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.ted.com/talks/nnedi_okorafor_sci_fi_stories_that_imagine_a_future_africa\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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 fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Marvel’s \u003cem>Black Panther\u003c/em> hits theaters Feb. 15, and the original comic book is experiencing a renaissance in popularity. But it’s historically been slim pickings for African American comic book fans looking for representation in those colorful panels.\u003c/span>\u003c/p>\n\u003cp>Which makes the 4th annual Black Comix Arts Festival, running Jan. 13-15, a much-needed intervention in the often racially homogeneous world of science fiction, comics and fantasy. The lineup looks dazzling, including science fiction author \u003ca href=\"http://nnedi.com/\" target=\"_blank\" rel=\"noopener\">Nnedi Okorafor\u003c/a>, tapped to write the new Black Panther series \u003cem>Long Live the King. \u003c/em>Also speaking is John Jennings, one of the illustrators, and Tony Medina, the writer, for \u003ca href=\"https://www.leeandlow.com/books/i-am-alfonso-jones\" target=\"_blank\" rel=\"noopener\">\u003cem>I Am Alfonso Jones\u003c/em>\u003c/a>\u003ci>,\u003c/i> a terrific graphic novel from Lee and Low about the Black Lives Matter movement. And look for one of my favorite Bay Area illustrators, Ajuan Mance, a Mills professor who has posted a series of online portraits called \u003ca href=\"http://8-rock.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>One Thousand and One Black Men\u003c/em>\u003c/a>. If you like cosplay, this seems a good time to try out that Luke Cage, Falcon, or Black Panther costume. Details for the Black Comix Arts Festival are \u003ca href=\"http://sfmlkday.org/bcafcon/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.ted.com/talks/nnedi_okorafor_sci_fi_stories_that_imagine_a_future_africa\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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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"title": "Filipino Film ‘Ang Larawan’ Sets the Bar High for Movie Musicals",
"headTitle": "Filipino Film ‘Ang Larawan’ Sets the Bar High for Movie Musicals | KQED",
"content": "\u003cp>So far, Hollywood hasn’t figured out how to bring the movie musical into the 21st century. From the razzmatazz of \u003ci>Moulin Rouge\u003c/i> to the retro aspirations of \u003ci>La La Land\u003c/i>, filmmakers have shoehorned bankable stars into productions whose glitz cannot elevate formulaic story lines and uninspired scores.\u003c/p>\n\u003cp>Maybe they should take a leaf from the distinguished team that has brought the classic Filipino play \u003ci>\u003ca href=\"http://anglarawan.com/\" rel=\"noopener\" target=\"_blank\">Ang Larawan\u003c/a> (The Portrait)\u003c/i> to the screen. Having just romped off with six major awards at the \u003ca href=\"http://mmff.com.ph/\" rel=\"noopener\" target=\"_blank\">Metro Manila Film Festival\u003c/a> (MMFF), including Best Picture and Best Musical Score, this lustrous gem of a film \u003ca href=\"https://www.eventbrite.com/e/ang-larawan-the-portrait-the-movie-tickets-41347136398\" rel=\"noopener\" target=\"_blank\">screens at the San Francisco Film Society Cinema\u003c/a> on Jan. 11 and in \u003ca href=\"https://www.tfc-usa.com/anglarawantheaterlist/\" rel=\"noopener\" target=\"_blank\">other Bay Area theaters Jan. 12-18\u003c/a>.\u003c/p>\n\u003cp>\u003ci>Ang Larawan\u003c/i> follows a pair of genteel spinsters who go to shocking lengths to prevent the exhibition or sale of a self-portrait by their reclusive father, renowned society painter Don Lorenzo Marasigan. The Marasigan family’s grand but decaying home — recreated in exquisite detail — lies in Intramuros, the ancient walled city at the heart of Manila, that will shortly be decimated in the second World War.\u003c/p>\n\u003cp>https://youtu.be/Pqk0qmf8LoE\u003c/p>\n\u003cp>The movie can be appreciated as a period piece rife with nostalgia for a high-minded, Spanish-influenced culture that was rapidly eroding under the crass, freewheeling mercantilism of the American regime. But the play, written in English around 1951 by playwright and social commentator Nick Joaquin and originally titled \u003ci>A Portrait of the Artist as Filipino\u003c/i>, also asks what it means to be Filipino — not just in the American Commonwealth era, but through generations scarred by one oppressive regime after another.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Translated into Tagalog, with a vibrant score that weaves opera, jazz and Broadway influences into the Filipino musical traditions of sarswela (\u003ca href=\"https://en.wikipedia.org/wiki/Zarzuela\" rel=\"noopener\" target=\"_blank\">zarzuela\u003c/a>) and \u003ca href=\"https://en.wikipedia.org/wiki/Kundiman\" rel=\"noopener\" target=\"_blank\">kundiman\u003c/a>, the energy feels modern, even as the characters waft about in finely embroidered, Spanish Empire-cut gowns and clothes inspired by the flapper era. Both the Tagalog libretto, by poet and dramatist Rolando Tinio, and English subtitles powerfully and vividly distill the original English dialogue, particularly in scenes of highly charged confrontation.\u003c/p>\n\u003cfigure id=\"attachment_13818747\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200.jpg\" alt=\"Tertulya scene in 'Ang Larawan.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13818747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tertulya scene in ‘Ang Larawan.’ \u003ccite>(Courtesy of the film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joanna Ampil, a star of London’s West End, took home the MMFF’s Best Actress award for her portrayal of the gutsy but deeply conflicted Candida Marasigan, who drives her timorous sister Paula into bed with charming con man Tony Javier. Rachel Alejandro as Paula gives a superbly nuanced performance, while the rakish Paulo Avelino in the role of Tony chillingly self-destructs once Paula thwarts his scheme to make off with the prized portrait and sell it to a rich American. Major and minor roles alike are unforgettably played by dramatic and comedic headliners of Philippine stage and cinema.\u003c/p>\n\u003cp>In the eccentric cast of characters that includes \u003ca href=\"https://en.wikipedia.org/wiki/Vaudeville_in_the_Philippines\" rel=\"noopener\" target=\"_blank\">bodabil\u003c/a> (vaudeville) entertainers, social-climbers and patricians, today’s audiences will recognize a social stratification that has remained essentially intact. As the locus of power shifted from the Spanish friars to American technocrats, to the Japanese army, then to dictator Ferdinand Marcos, those who chose to collaborate with the authorities were usually able to consolidate wealth and establish local fiefdoms, many of which survive today. If it feels like the country is at some new breaking point, under the iron-fisted Rodrigo Duterte, \u003ci>Ang Larawan\u003c/i> serves as a reminder that we’ve been there before. And a reminder not to abandon art, for it can be our most powerful source of illumination in times of crisis.\u003c/p>\n\u003cfigure id=\"attachment_13818749\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200.jpg\" alt=\"Still from 'Ang Larawan.'\" width=\"1200\" height=\"797\" class=\"size-full wp-image-13818749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-520x345.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Ang Larawan.’ \u003ccite>(Courtesy of the film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The movie closes with heart-stopping footage of the shelling of occupied Manila by American planes, then cuts to the Marasigan family and their friends as they watch a religious procession from their windows. We know the Marasigans will perish. The juxtaposition of carnage and holy cavalcade underscores both the futility and the eternal hope embedded in shared ritual. The hazy, dreamlike filming of the procession, almost unbearable in its beauty, points to the fragility of time and place. San Francisco audiences, many of whom belong to a diaspora, may be profoundly moved.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\u003ci>‘Ang Larawan’ screens at San Francisco Film Society Cinema (1746 Post Street) at 6:30pm and 8:30pm on Thursday, Jan. 11 and at theaters throughout the Bay Area Jan. 12-18. For tickets and more information, \u003ca href=\"https://www.tfc-usa.com/anglarawantheaterlist/8\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Correction: This review originally stated that the film ends with footage of the Japanese bombing of Manila. The footage is of American planes.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So far, Hollywood hasn’t figured out how to bring the movie musical into the 21st century. From the razzmatazz of \u003ci>Moulin Rouge\u003c/i> to the retro aspirations of \u003ci>La La Land\u003c/i>, filmmakers have shoehorned bankable stars into productions whose glitz cannot elevate formulaic story lines and uninspired scores.\u003c/p>\n\u003cp>Maybe they should take a leaf from the distinguished team that has brought the classic Filipino play \u003ci>\u003ca href=\"http://anglarawan.com/\" rel=\"noopener\" target=\"_blank\">Ang Larawan\u003c/a> (The Portrait)\u003c/i> to the screen. Having just romped off with six major awards at the \u003ca href=\"http://mmff.com.ph/\" rel=\"noopener\" target=\"_blank\">Metro Manila Film Festival\u003c/a> (MMFF), including Best Picture and Best Musical Score, this lustrous gem of a film \u003ca href=\"https://www.eventbrite.com/e/ang-larawan-the-portrait-the-movie-tickets-41347136398\" rel=\"noopener\" target=\"_blank\">screens at the San Francisco Film Society Cinema\u003c/a> on Jan. 11 and in \u003ca href=\"https://www.tfc-usa.com/anglarawantheaterlist/\" rel=\"noopener\" target=\"_blank\">other Bay Area theaters Jan. 12-18\u003c/a>.\u003c/p>\n\u003cp>\u003ci>Ang Larawan\u003c/i> follows a pair of genteel spinsters who go to shocking lengths to prevent the exhibition or sale of a self-portrait by their reclusive father, renowned society painter Don Lorenzo Marasigan. The Marasigan family’s grand but decaying home — recreated in exquisite detail — lies in Intramuros, the ancient walled city at the heart of Manila, that will shortly be decimated in the second World War.\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/Pqk0qmf8LoE'\n title='//www.youtube.com/embed/Pqk0qmf8LoE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The movie can be appreciated as a period piece rife with nostalgia for a high-minded, Spanish-influenced culture that was rapidly eroding under the crass, freewheeling mercantilism of the American regime. But the play, written in English around 1951 by playwright and social commentator Nick Joaquin and originally titled \u003ci>A Portrait of the Artist as Filipino\u003c/i>, also asks what it means to be Filipino — not just in the American Commonwealth era, but through generations scarred by one oppressive regime after another.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Translated into Tagalog, with a vibrant score that weaves opera, jazz and Broadway influences into the Filipino musical traditions of sarswela (\u003ca href=\"https://en.wikipedia.org/wiki/Zarzuela\" rel=\"noopener\" target=\"_blank\">zarzuela\u003c/a>) and \u003ca href=\"https://en.wikipedia.org/wiki/Kundiman\" rel=\"noopener\" target=\"_blank\">kundiman\u003c/a>, the energy feels modern, even as the characters waft about in finely embroidered, Spanish Empire-cut gowns and clothes inspired by the flapper era. Both the Tagalog libretto, by poet and dramatist Rolando Tinio, and English subtitles powerfully and vividly distill the original English dialogue, particularly in scenes of highly charged confrontation.\u003c/p>\n\u003cfigure id=\"attachment_13818747\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200.jpg\" alt=\"Tertulya scene in 'Ang Larawan.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13818747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan2_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tertulya scene in ‘Ang Larawan.’ \u003ccite>(Courtesy of the film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joanna Ampil, a star of London’s West End, took home the MMFF’s Best Actress award for her portrayal of the gutsy but deeply conflicted Candida Marasigan, who drives her timorous sister Paula into bed with charming con man Tony Javier. Rachel Alejandro as Paula gives a superbly nuanced performance, while the rakish Paulo Avelino in the role of Tony chillingly self-destructs once Paula thwarts his scheme to make off with the prized portrait and sell it to a rich American. Major and minor roles alike are unforgettably played by dramatic and comedic headliners of Philippine stage and cinema.\u003c/p>\n\u003cp>In the eccentric cast of characters that includes \u003ca href=\"https://en.wikipedia.org/wiki/Vaudeville_in_the_Philippines\" rel=\"noopener\" target=\"_blank\">bodabil\u003c/a> (vaudeville) entertainers, social-climbers and patricians, today’s audiences will recognize a social stratification that has remained essentially intact. As the locus of power shifted from the Spanish friars to American technocrats, to the Japanese army, then to dictator Ferdinand Marcos, those who chose to collaborate with the authorities were usually able to consolidate wealth and establish local fiefdoms, many of which survive today. If it feels like the country is at some new breaking point, under the iron-fisted Rodrigo Duterte, \u003ci>Ang Larawan\u003c/i> serves as a reminder that we’ve been there before. And a reminder not to abandon art, for it can be our most powerful source of illumination in times of crisis.\u003c/p>\n\u003cfigure id=\"attachment_13818749\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200.jpg\" alt=\"Still from 'Ang Larawan.'\" width=\"1200\" height=\"797\" class=\"size-full wp-image-13818749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AngLarawan4_1200-520x345.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Ang Larawan.’ \u003ccite>(Courtesy of the film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The movie closes with heart-stopping footage of the shelling of occupied Manila by American planes, then cuts to the Marasigan family and their friends as they watch a religious procession from their windows. We know the Marasigans will perish. The juxtaposition of carnage and holy cavalcade underscores both the futility and the eternal hope embedded in shared ritual. The hazy, dreamlike filming of the procession, almost unbearable in its beauty, points to the fragility of time and place. San Francisco audiences, many of whom belong to a diaspora, may be profoundly moved.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\u003ci>‘Ang Larawan’ screens at San Francisco Film Society Cinema (1746 Post Street) at 6:30pm and 8:30pm on Thursday, Jan. 11 and at theaters throughout the Bay Area Jan. 12-18. For tickets and more information, \u003ca href=\"https://www.tfc-usa.com/anglarawantheaterlist/8\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Correction: This review originally stated that the film ends with footage of the Japanese bombing of Manila. The footage is of American planes.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! A Trio of Revivals Guides Us Through Rocky Days",
"headTitle": "Now Playing! A Trio of Revivals Guides Us Through Rocky Days | KQED",
"content": "\u003cp>Here’s hoping one of your New Year’s resolutions is to get out to the movies more often in 2018. Sure, streaming is convenient, but it’s not the same as watching a film with a theater full of people. (Oh? How big \u003cem>is\u003c/em> your living room?) So while the rest of the country is digging out and thawing out, bask in our temperate cultural clime by partaking of this week’s bevy of 20th-century masterpieces. Not one, not two, but \u003cem>three\u003c/em> outstanding revivals brighten local screens and set a tone for the rocky days ahead.\u003c/p>\n\u003cp>\u003ca href=\"https://bampfa.org/program/limited-engagements-special-screenings\" rel=\"noopener\" target=\"_blank\">BAMPFA\u003c/a> reaches back to the 1930s for two of the beloved Jean Renoir’s humanist classics. The scintillating digital restoration of \u003cem>The Crime of Monsieur Lange\u003c/em> (Jan. 13, repeats Jan. 21), a left-of-center study of a publishing house’s employees after their heinous boss leaves the scene of \u003cem>his\u003c/em> crimes, allows for a clearer-than-ever appreciation of the director’s seamless technique. If you’ve never seen \u003cem>The Rules of the Game\u003c/em> (Jan. 14 and 19), Renoir’s empathetic, amusing and ultimately devastating takedown of class privilege and hollow social etiquette, now’s the time to treat yourself to a peak cinema experience.\u003c/p>\n\u003cfigure id=\"attachment_13818683\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER.jpg\" alt=\"Still from Jean Renoir's 'The Crime of Monsieur Lange,' 1936.\" width=\"1200\" height=\"804\" class=\"size-full wp-image-13818683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-1180x791.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-520x348.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jean Renoir’s ‘The Crime of Monsieur Lange,’ 1936. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two most brilliant — and savagely satiric — movies ever made about Hollywood, Billy Wilder’s \u003cem>Sunset Boulevard\u003c/em> (1950) and Robert Altman’s \u003cem>The Player\u003c/em> (1992), grace the \u003ca href=\"http://www.castrotheatre.com/p-list.html#jan10\" rel=\"noopener\" target=\"_blank\">Castro\u003c/a> screen on Jan. 10. The former depicts, among other things, how thoroughly the stars of the past (the silent era, in this case) are forgotten in their own lifetimes. The contemporary irony is that \u003cem>Sunset Boulevard\u003c/em> was shot in black-and-white, a format that many younger moviegoers find as anachronistic and artificial as silent movies were to their grandparents.\u003c/p>\n\u003cp>\u003cem>The Player\u003c/em>, adapted from Michael Tolkin’s ruthlessly funny novel, is a beautifully conceived and wittily staged portrait of a studio executive’s ambition, ego, libido and power. The movie smacks Hollywood with both hands, to be sure, but its richest enmity is reserved for the kind of people who are attracted to the visual entertainment business, and who have no interest in or respect for art or artists. \u003c/p>\n\u003cp>The filmmaker of the moment, though, is Andrei Tarkovsky. The late Soviet director’s existential fascination with our species’ impulse toward self-destruction and apocalypse is always timely, though never more than when nuclear-button ravings and offshore-drilling announcements are emanating from the White House. Tarkovsky wasn’t a nihilist, however, and his films are philosophical battlegrounds where the protagonist labors to identify and act in accord with his innate humanity. The director’s haunting 1986 fade-out, \u003cem>The Sacrifice\u003c/em> (Jan. 11, 13 and 14 at the \u003ca href=\"http://www.roxie.com/ai1ec_event/the-sacrifice/?instance_id=25085\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a> and Jan. 12 at \u003ca href=\"https://bampfa.org/event/sacrifice-1\" rel=\"noopener\" target=\"_blank\">BAMPFA\u003c/a>), is some combination of terrifying and cathartic, and just may propel you back onto your couch. Or under it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here’s hoping one of your New Year’s resolutions is to get out to the movies more often in 2018. Sure, streaming is convenient, but it’s not the same as watching a film with a theater full of people. (Oh? How big \u003cem>is\u003c/em> your living room?) So while the rest of the country is digging out and thawing out, bask in our temperate cultural clime by partaking of this week’s bevy of 20th-century masterpieces. Not one, not two, but \u003cem>three\u003c/em> outstanding revivals brighten local screens and set a tone for the rocky days ahead.\u003c/p>\n\u003cp>\u003ca href=\"https://bampfa.org/program/limited-engagements-special-screenings\" rel=\"noopener\" target=\"_blank\">BAMPFA\u003c/a> reaches back to the 1930s for two of the beloved Jean Renoir’s humanist classics. The scintillating digital restoration of \u003cem>The Crime of Monsieur Lange\u003c/em> (Jan. 13, repeats Jan. 21), a left-of-center study of a publishing house’s employees after their heinous boss leaves the scene of \u003cem>his\u003c/em> crimes, allows for a clearer-than-ever appreciation of the director’s seamless technique. If you’ve never seen \u003cem>The Rules of the Game\u003c/em> (Jan. 14 and 19), Renoir’s empathetic, amusing and ultimately devastating takedown of class privilege and hollow social etiquette, now’s the time to treat yourself to a peak cinema experience.\u003c/p>\n\u003cfigure id=\"attachment_13818683\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER.jpg\" alt=\"Still from Jean Renoir's 'The Crime of Monsieur Lange,' 1936.\" width=\"1200\" height=\"804\" class=\"size-full wp-image-13818683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-1180x791.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Renoir_Crime-M_Lange_001_COVER-520x348.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jean Renoir’s ‘The Crime of Monsieur Lange,’ 1936. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two most brilliant — and savagely satiric — movies ever made about Hollywood, Billy Wilder’s \u003cem>Sunset Boulevard\u003c/em> (1950) and Robert Altman’s \u003cem>The Player\u003c/em> (1992), grace the \u003ca href=\"http://www.castrotheatre.com/p-list.html#jan10\" rel=\"noopener\" target=\"_blank\">Castro\u003c/a> screen on Jan. 10. The former depicts, among other things, how thoroughly the stars of the past (the silent era, in this case) are forgotten in their own lifetimes. The contemporary irony is that \u003cem>Sunset Boulevard\u003c/em> was shot in black-and-white, a format that many younger moviegoers find as anachronistic and artificial as silent movies were to their grandparents.\u003c/p>\n\u003cp>\u003cem>The Player\u003c/em>, adapted from Michael Tolkin’s ruthlessly funny novel, is a beautifully conceived and wittily staged portrait of a studio executive’s ambition, ego, libido and power. The movie smacks Hollywood with both hands, to be sure, but its richest enmity is reserved for the kind of people who are attracted to the visual entertainment business, and who have no interest in or respect for art or artists. \u003c/p>\n\u003cp>The filmmaker of the moment, though, is Andrei Tarkovsky. The late Soviet director’s existential fascination with our species’ impulse toward self-destruction and apocalypse is always timely, though never more than when nuclear-button ravings and offshore-drilling announcements are emanating from the White House. Tarkovsky wasn’t a nihilist, however, and his films are philosophical battlegrounds where the protagonist labors to identify and act in accord with his innate humanity. The director’s haunting 1986 fade-out, \u003cem>The Sacrifice\u003c/em> (Jan. 11, 13 and 14 at the \u003ca href=\"http://www.roxie.com/ai1ec_event/the-sacrifice/?instance_id=25085\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a> and Jan. 12 at \u003ca href=\"https://bampfa.org/event/sacrifice-1\" rel=\"noopener\" target=\"_blank\">BAMPFA\u003c/a>), is some combination of terrifying and cathartic, and just may propel you back onto your couch. Or under it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'The Post': Pentagon Papers Put The Press Under Pressure",
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"content": "\u003cp>Steven Spielberg’s \u003cem>The Post\u003c/em> is a story of journalists, government leaks, and a president who hates the press. It’s about the publication of the Pentagon Papers in 1971, but there’s a reason Spielberg rushed to tell the story now. \u003c/p>\n\u003cp>And he really \u003cem>did\u003c/em> rush: The filmmaker has long talked about making a Pentagon Papers movie, but the 2016 election made him feel it had become urgent. He got the working script just weeks after the inauguration, rounded up his high-powered cast, and leapt into production as if he were making a little indie flick on the fly. \u003c/p>\n\u003cp>https://youtu.be/nrXlY6gzTTM\u003c/p>\n\u003cp>But this story is big. We begin with defense secretary Robert McNamara (Bruce Greenwood) talking with staffers on a plane about how badly things are going in Vietnam — but then, when talking to reporters the moment they touch down, praising the progress the U.S. is making. \u003c/p>\n\u003cp>Staffer Daniel Ellsberg (Matthew Rhys) registers this disconnect, and leaks a top-secret government report on the war to the \u003cem>New York Times\u003c/em>. And whenever the \u003cem>Times\u003c/em> gets a scoop, \u003cem>Washington Post\u003c/em> editor Ben Bradlee (Tom Hanks) gets riled.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today, of course, the \u003cem>Washington Post\u003c/em> is a brand name. In 1971, it was an underfunded, family-owned paper, making its first stock offering with a perceived disadvantage. The recent death of publisher Phil Graham had left his wife Katharine (played here by Meryl Streep) at the helm.\u003c/p>\n\u003cp>Bradlee’s ambitions were not modest, however. He just needed time. And now, suddenly, when the \u003ci>Post\u003c/i> also got their own copy of the report, he had it.\u003c/p>\n\u003cp>Though \u003cem>The Post\u003c/em> seems to fit squarely with Spielbergian histories like \u003cem>Lincoln\u003c/em> and \u003cem>Schindler’s List\u003c/em>, there’s a definite Ark-of-the-Covenant vibe to the film when the box of Pentagon Papers arrives, and an \u003cem>Indiana Jones\u003c/em> urgency to the frenzy that follows, because the \u003cem>Post\u003c/em> had hours to sift through thousands of pages and do what had taken the \u003cem>Times\u003c/em> months. \u003c/p>\n\u003cp>The film isn’t Spielberg’s subtlest, but it has some nicely subtle touches, like when his long-lens camera peers through White House windows to catch glimpses of a president and his henchmen; we hear their actual voices from tapes Nixon was forced to give up, years later. \u003c/p>\n\u003cp>It’s a film where the clatter of typewriters competes with the whoosh of pages sent by pneumatic tube to a pressroom where molten lead turns them into lines of type. \u003c/p>\n\u003cp>Tom Hanks makes for a blustery Ben Bradlee, and Meryl Streep plays Kay Graham as hesitant but steely, seemingly the only woman in the corridors of power — and ironically, the one with the power to defend the First Amendment. Bradlee can talk principle all he wants — and he does here, often — but only Graham can publish.\u003c/p>\n\u003cp>It’s melodrama, but effective, about an age where the First Amendment means something, where a power-mad president gets called to account by a crusading press, and where a woman can not just find her voice but … well, as Spielberg does in \u003cem>The Post\u003c/em>, I should let you fill in the blanks. Trust me, you will.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Steven Spielberg’s \u003cem>The Post\u003c/em> is a story of journalists, government leaks, and a president who hates the press. It’s about the publication of the Pentagon Papers in 1971, but there’s a reason Spielberg rushed to tell the story now. \u003c/p>\n\u003cp>And he really \u003cem>did\u003c/em> rush: The filmmaker has long talked about making a Pentagon Papers movie, but the 2016 election made him feel it had become urgent. He got the working script just weeks after the inauguration, rounded up his high-powered cast, and leapt into production as if he were making a little indie flick on the fly. \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/nrXlY6gzTTM'\n title='//www.youtube.com/embed/nrXlY6gzTTM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But this story is big. We begin with defense secretary Robert McNamara (Bruce Greenwood) talking with staffers on a plane about how badly things are going in Vietnam — but then, when talking to reporters the moment they touch down, praising the progress the U.S. is making. \u003c/p>\n\u003cp>Staffer Daniel Ellsberg (Matthew Rhys) registers this disconnect, and leaks a top-secret government report on the war to the \u003cem>New York Times\u003c/em>. And whenever the \u003cem>Times\u003c/em> gets a scoop, \u003cem>Washington Post\u003c/em> editor Ben Bradlee (Tom Hanks) gets riled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "MoviePass a Mixed Blessing for Bay Area Theaters",
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"content": "\u003cp>The \u003ca href=\"http://www.roxie.com/\" target=\"_blank\" rel=\"noopener\">Roxie Theatre\u003c/a> in San Francisco has had a good year. Elizabeth O’Malley, executive director of the Mission District-based indie theater, says that it sold 15,000 more tickets in the past financial year than it did in the previous one.\u003c/p>\n\u003cp>One reason for the surge might be \u003ca href=\"https://www.moviepass.com/\" target=\"_blank\" rel=\"noopener\">MoviePass\u003c/a>, a dirt-cheap subscription service which lets customers see a movie a day for $9.95 a month. It pays theaters the entire ticket price for each ticket sold via its app. That’s $12 for every regular ticket sold at the Roxie.\u003c/p>\n\u003cp>“Anecdotally, our box office managers have said that they’ve seen an increase in these MoviePass subscribers coming through our doors,” O’Malley says.\u003c/p>\n\u003cp>O’Malley doesn’t credit MoviePass entirely for the increased business, though she says the service has brought some people out who might otherwise have waited to stream the movie at home.\u003c/p>\n\u003cp>“We are seeing it as a positive in terms of pushing back on video-on-demand as a threat to movie theaters,” O’Malley says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Launched in 2011 and run since June 2016 by Netflix co-founder Mitch Lowe, MoviePass introduced its cut-rate pricing last August after largely failing to appeal to a wide audience with more expensive subscription plans.\u003c/p>\n\u003cfigure id=\"attachment_13818328\" class=\"wp-caption aligncenter\" style=\"max-width: 665px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13818328 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465.jpg\" alt=\"MoviePass CEO Mitch Lowe.\" width=\"665\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465.jpg 665w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-520x353.jpg 520w\" sizes=\"(max-width: 665px) 100vw, 665px\">\u003cfigcaption class=\"wp-caption-text\">MoviePass CEO Mitch Lowe. \u003ccite>(Photo: Courtesy of MoviePass)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A MoviePass spokesman says the service can be used at more than 90 percent of theaters around the country. The spokesperson says the Bay Area is now MoviePass’s third largest market in the U.S. after Los Angeles and New York.\u003c/p>\n\u003cp>Besides the Roxie, the company’s website lists a variety of local theaters as honoring MoviePass subscriptions, from indie houses such as 4-Star and Vogue to big chains like AMC Van Ness 14 and Century 20 Daly City.\u003c/p>\n\u003cp>But the service has drawn criticism from small and big players alike.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/12/27/business/media/moviepass-theaters-tickets.html\" target=\"_blank\" rel=\"noopener\">A recent article in The New York Times\u003c/a> reports that major theaters and studio owners are denouncing MoviePass’ business model as being unsustainable because the monthly subscription fee is so low.\u003c/p>\n\u003cp>“They say that will cause MoviePass to either raise prices or go out of business, disappointing audiences and ultimately hurting the fragile multiplex business,” writes reporter Brooks Barnes.\u003c/p>\n\u003cp>“We are constantly looking for new ways to improve and expand service,” Lowe says. “Right now, in addition to the subscription model, we are also building out additional revenue streams related to the movie-going experience.” Lowe adds his company has no plans to increase subscription prices in 2018.\u003c/p>\n\u003cp>Meanwhile, O’Malley is unhappy with the lack of a sense of partnership between her theater and MoviePass.\u003c/p>\n\u003cp>“We’ve appreciated the uptick in business because of MoviePass, but would really love to be a more collaborative member of the MoviePass community.”\u003c/p>\n\u003cp>O’Malley says there’s no way to contact MoviePass directly if a customer issue arises. Also, she says MoviePass isn’t set up to deviate from the standard $12-a-ticket compensation structure when the Roxie wants to do special programming (e.g. asking customers to pay $15 for a double feature).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“So when MoviePass subscribers come through the door, they have to pay the extra out of pocket,” O’Malley says. “That three dollar difference is just a confusing experience for our customers.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.roxie.com/\" target=\"_blank\" rel=\"noopener\">Roxie Theatre\u003c/a> in San Francisco has had a good year. Elizabeth O’Malley, executive director of the Mission District-based indie theater, says that it sold 15,000 more tickets in the past financial year than it did in the previous one.\u003c/p>\n\u003cp>One reason for the surge might be \u003ca href=\"https://www.moviepass.com/\" target=\"_blank\" rel=\"noopener\">MoviePass\u003c/a>, a dirt-cheap subscription service which lets customers see a movie a day for $9.95 a month. It pays theaters the entire ticket price for each ticket sold via its app. That’s $12 for every regular ticket sold at the Roxie.\u003c/p>\n\u003cp>“Anecdotally, our box office managers have said that they’ve seen an increase in these MoviePass subscribers coming through our doors,” O’Malley says.\u003c/p>\n\u003cp>O’Malley doesn’t credit MoviePass entirely for the increased business, though she says the service has brought some people out who might otherwise have waited to stream the movie at home.\u003c/p>\n\u003cp>“We are seeing it as a positive in terms of pushing back on video-on-demand as a threat to movie theaters,” O’Malley says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Launched in 2011 and run since June 2016 by Netflix co-founder Mitch Lowe, MoviePass introduced its cut-rate pricing last August after largely failing to appeal to a wide audience with more expensive subscription plans.\u003c/p>\n\u003cfigure id=\"attachment_13818328\" class=\"wp-caption aligncenter\" style=\"max-width: 665px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13818328 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465.jpg\" alt=\"MoviePass CEO Mitch Lowe.\" width=\"665\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465.jpg 665w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-520x353.jpg 520w\" sizes=\"(max-width: 665px) 100vw, 665px\">\u003cfigcaption class=\"wp-caption-text\">MoviePass CEO Mitch Lowe. \u003ccite>(Photo: Courtesy of MoviePass)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A MoviePass spokesman says the service can be used at more than 90 percent of theaters around the country. The spokesperson says the Bay Area is now MoviePass’s third largest market in the U.S. after Los Angeles and New York.\u003c/p>\n\u003cp>Besides the Roxie, the company’s website lists a variety of local theaters as honoring MoviePass subscriptions, from indie houses such as 4-Star and Vogue to big chains like AMC Van Ness 14 and Century 20 Daly City.\u003c/p>\n\u003cp>But the service has drawn criticism from small and big players alike.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/12/27/business/media/moviepass-theaters-tickets.html\" target=\"_blank\" rel=\"noopener\">A recent article in The New York Times\u003c/a> reports that major theaters and studio owners are denouncing MoviePass’ business model as being unsustainable because the monthly subscription fee is so low.\u003c/p>\n\u003cp>“They say that will cause MoviePass to either raise prices or go out of business, disappointing audiences and ultimately hurting the fragile multiplex business,” writes reporter Brooks Barnes.\u003c/p>\n\u003cp>“We are constantly looking for new ways to improve and expand service,” Lowe says. “Right now, in addition to the subscription model, we are also building out additional revenue streams related to the movie-going experience.” Lowe adds his company has no plans to increase subscription prices in 2018.\u003c/p>\n\u003cp>Meanwhile, O’Malley is unhappy with the lack of a sense of partnership between her theater and MoviePass.\u003c/p>\n\u003cp>“We’ve appreciated the uptick in business because of MoviePass, but would really love to be a more collaborative member of the MoviePass community.”\u003c/p>\n\u003cp>O’Malley says there’s no way to contact MoviePass directly if a customer issue arises. Also, she says MoviePass isn’t set up to deviate from the standard $12-a-ticket compensation structure when the Roxie wants to do special programming (e.g. asking customers to pay $15 for a double feature).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“So when MoviePass subscribers come through the door, they have to pay the extra out of pocket,” O’Malley says. “That three dollar difference is just a confusing experience for our customers.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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