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"content": "\u003cp>Is an artist’s life relevant to her reputation as an artist? Not so much, perhaps, but many of us want the bio anyway, especially when the artist in question is as tantalizingly elusive as Vivian Maier (or Mayer, or Meyer, as she variously spelled it to confound the curious), a reclusive Chicago nanny whose posthumously discovered trove of street photographs swelled into a cause celebre after her death in 2009.\u003c/p>\n\u003cp>The lucky, sharp-eyed finder of the stash was John Maloof, a photographer and flea market regular who paid $340 for more than 100,000 mostly undeveloped negatives while researching a local history project. He must be a lot richer now, but having tried to persuade initially indifferent art museums to exhibit Maier’s work, Maloof and his co-director Charlie Siskel (a nephew of the late film critic Gene Siskel) set out to learn what they could about a woman who seemed to have no interest in sharing her work, still less in courting public recognition.\u003c/p>\n\u003cp>http://youtu.be/2o2nBhQ67Zc\u003c/p>\n\u003cp>The resulting documentary, \u003cem>Finding Vivian Maier\u003c/em>, might better have been titled \u003cem>Constructing Vivian Maier\u003c/em> — not because the filmmakers came up empty-handed, but because what they found out sheds too neat and tidy a light on her unsparing, yet warmly sympathetic portraits of the denizens of Chicago’s seamy underside.\u003c/p>\n\u003cp>From Web research and interviews with Maier’s employers and former charges (some of whom, fancifully or not, claim friendship with her), Maloof learned that though she was born in New York in 1926, Maier affected a “fake” French accent. Then again, her mother was French and she spent chunks of time in the Alsatian village where her mother grew up. Her father barely enters the picture, which may or may not have anything to do with her reported antagonism toward or fear of men and the fact that she never married or, apparently, had an intimate relationship with a man.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Maier was devoted to the children she cared for, but she could also be harsh. In the selfies she occasionally took with her Rolleiflex camera, she stands more than 6 feet tall. Her lanky stature and unsmiling stare inevitably invite comparisons to Mary Poppins — the P.L. Travers rather than the Disney version.\u003c/p>\n\u003cp>One former charge reports being force-fed by Maier; others call her mean or complain of being dragged around Chicago’s slums while she searched for subjects. You’d think one or two of them might have been entranced — even enhanced — by jaunts that took them into more exciting terrain than their safe suburban habitats.\u003c/p>\n\u003cp>Maier was certainly a pack rat who grew more secretive as she aged out of her job into a lonely old age in which only the largesse of two of her former charges kept her from full vagrancy and untreated mental illness. But the filmmakers also pump her up as a woman of mystery, making much of her hermit nature and assuming she didn’t want to be discovered. Perhaps she just loved taking pictures; perhaps they kept her company or even prevented her, for a while, from falling apart. Perhaps it never crossed her mind that she was an artist. Perhaps, had she lived long enough to witness her fame, she’d have reveled in the attention and ended up on \u003cem>Jeopardy\u003c/em> or \u003cem>Dancing With the Stars\u003c/em>.\u003c/p>\n\u003cp>Recluses make great repositories for our projections, not least among them the common fantasy of unacknowledged creativity that brings us fame after we die. In the end, though, it’s the work that thrills. The everyday quality of Maier’s photographs in an age of sensation may have made the art world skittish for a while, though surely the fact that she was an unhip unknown in that world didn’t help.\u003c/p>\n\u003cp>Now Maier is a bona fide star, admired by major photographers like Joel Meyerowitz and Mary Ellen Mark. Her feel for the grotesque or bizarre has led to comparisons with Diane Arbus, while her radar for the urban dispossessed — an African-American boy on a horse in the city, the scrunched-up face of a toddler screaming in his stroller, a laborer with a face as cratered as the Grand Canyon — reminds many of Robert Frank.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But her eye is all her own, enlivened by a mix of sly humor and fellow feeling that make it easy to see why the public flocks to see her work. Self-taught and roaming free in the city, Vivian Maier captured the remarkable in the ordinary. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Vivian+Maier%27+Brings+Nanny-Photographer%27s+Life+Into+Focus&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>\u003cem>Draft Day\u003c/em> may be a sports movie, but football isn’t the sport. Games are played, but they’re not on a field. This is a chess match, a poker game and a battle of wills, and in the place of a team full of plucky underdogs trying to come up with an unlikely win in the zero hour, there’s a downtrodden NFL general manager trying to make a series of business deals to save his job and his team’s revenue stream.\u003c/p>\n\u003cp>If \u003cem>Field of Dreams\u003c/em> was cinema’s most heartfelt tribute to the absolute romantic purity of a sport, then \u003cem>Draft Day\u003c/em> is its more coldly practical descendant: Heart and starry-eyed idealism is great and all, but we still need to come in below the salary cap.\u003c/p>\n\u003cp>At the center of both movies is Kevin Costner, now appearing in his fourth feature about the sporting life, though now well past the point where he can be on any kind of field himself. Here he plays Sonny Weaver Jr., general manager of a Cleveland Browns team that is years away from its last winning season. Draft day is the day to try to turn that around, and Sonny is having a rough go of it, between a calculating team owner (Frank Langella) ready to show him the door if he doesn’t make a “splash” with his picks, and a hot-headed coach (Denis Leary) with a penchant for destructive acts of defiance when he doesn’t get his way.\u003c/p>\n\u003cp>http://youtu.be/K3SlVsdUuBY\u003c/p>\n\u003cp>He also faces a thinly drawn trio of possible draft picks to deal with, a mother (Ellen Burstyn) who inexplicably wants to interrupt her son’s most stressful day of the year to spread Dad’s ashes at the 50-yard line (Dad was also the team’s coach), and the small matter of Ali (Jennifer Garner), a team executive he’s been seeing secretly, who picked today to tell him she’s pregnant. Sonny needs a drink and a hug.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All of the personal conflict is meant to add some stakes in for anyone who doesn’t find the NFL draft itself to be drama enough. Ironically, though, the only part of \u003cem>Draft Day\u003c/em> that actually has any effective tension is the draft — which only takes up the last 15 minutes or so of the film.\u003c/p>\n\u003cp>It’s difficult to blame director Ivan Reitman completely for how dull \u003cem>Draft Day\u003c/em> feels for most of its running time, even if its narcotic blandness is typical of much of his recent output. But when the script calls for huge chunks of dialogue to occur on the telephone — one of the most uninteresting means of communication to put onscreen — it’s going to be a challenge for any director.\u003c/p>\n\u003cp>But Reitman’s solution — shifting split screens that allow a character to cross over into the other character’s frame — just draws attention to how awkward it is to jam this many phone calls into a movie. Meanwhile, his device for introducing new cities before each call, which simply combines aerial shots of stadiums with names of cities and teams, comes off like a series of those NFL promotional bumpers that air during games.\u003c/p>\n\u003cp>All of those calls, all of those draft-day trades, and all of the chaos surrounding Sonny also translate into a lot of characters. Too many, it turns out, to give much dimension to. Stuck with those limitations, the film falls back on the laziest one-joke stereotypes: the crusty coach, the flashy agent, the nerdy intern and the showboat draft prospect with a heart of gold — the latter borrowed liberally from Rod Tidwell in \u003cem>Jerry Maguire\u003c/em>.\u003cbr>\n\u003cem>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Draft Day\u003c/em> is never terrible — one suspects the NFL wouldn’t have been so generous in licensing official league images if they hadn’t ensured there would be a baseline of crowd-friendly professionalism. And the movie is loaded with all the star cast members and glossy sheen that money can buy. That’s almost enough to hide just how aggressively mediocre it is underneath. In fact, the movie acts as an illustration of one of Sonny’s greatest fears in the film: Those first-round picks cost a lot of money and look great on paper, but that’s still no guarantee they’ll carry your team once the clock starts.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+%27Draft+Day%2C%27+A+Coach+Faces+His+Own+Big+Game&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of the personal conflict is meant to add some stakes in for anyone who doesn’t find the NFL draft itself to be drama enough. Ironically, though, the only part of \u003cem>Draft Day\u003c/em> that actually has any effective tension is the draft — which only takes up the last 15 minutes or so of the film.\u003c/p>\n\u003cp>It’s difficult to blame director Ivan Reitman completely for how dull \u003cem>Draft Day\u003c/em> feels for most of its running time, even if its narcotic blandness is typical of much of his recent output. But when the script calls for huge chunks of dialogue to occur on the telephone — one of the most uninteresting means of communication to put onscreen — it’s going to be a challenge for any director.\u003c/p>\n\u003cp>But Reitman’s solution — shifting split screens that allow a character to cross over into the other character’s frame — just draws attention to how awkward it is to jam this many phone calls into a movie. Meanwhile, his device for introducing new cities before each call, which simply combines aerial shots of stadiums with names of cities and teams, comes off like a series of those NFL promotional bumpers that air during games.\u003c/p>\n\u003cp>All of those calls, all of those draft-day trades, and all of the chaos surrounding Sonny also translate into a lot of characters. Too many, it turns out, to give much dimension to. Stuck with those limitations, the film falls back on the laziest one-joke stereotypes: the crusty coach, the flashy agent, the nerdy intern and the showboat draft prospect with a heart of gold — the latter borrowed liberally from Rod Tidwell in \u003cem>Jerry Maguire\u003c/em>.\u003cbr>\n\u003cem>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Draft Day\u003c/em> is never terrible — one suspects the NFL wouldn’t have been so generous in licensing official league images if they hadn’t ensured there would be a baseline of crowd-friendly professionalism. And the movie is loaded with all the star cast members and glossy sheen that money can buy. That’s almost enough to hide just how aggressively mediocre it is underneath. In fact, the movie acts as an illustration of one of Sonny’s greatest fears in the film: Those first-round picks cost a lot of money and look great on paper, but that’s still no guarantee they’ll carry your team once the clock starts.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+%27Draft+Day%2C%27+A+Coach+Faces+His+Own+Big+Game&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In Human Rights Watch Film Festival, a Tender and Triumphant Spirit",
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"content": "\u003cp>San Francisco’s Human Rights Watch Film Festival is a small documentary showcase featuring six films from the flagship festivals in New York and London. But as limited as the selection may be, the content is expansive, traveling the globe and covering issues as varied as women’s rights, poverty, marriage equality and a failed judicial system.\u003c/p>\n\u003cp>There is plenty of what you might expect — staggering poverty and political injustices caught on film — but for as many moments of sobering reality, there are just as many of human triumph and inspiration.\u003c/p>\n\u003cp>With \u003ci>Rafea: Solar Mama\u003c/i>, filmmakers Jehane Noujaim and Mona Eldaief take us into the Jordanian desert to a Bedouin village rife with poverty and unemployment. There, Rafea raises her children on her own, though she has little money to raise them with. By a stroke of luck, she’s chosen for an international program at the Barefoot College in India, which trains illiterate women from around the world to become solar engineers. \u003c/p>\n\u003cp>Rafea’s tasked with a huge burden: If she succeeds, she’ll become Jordan’s first female solar engineer. She hopes to change the status of women in her village and to become a breadwinner for her family. But her problems are not limited to poverty and illiteracy: Rafea’s husband believes she shouldn’t be allowed outside of the home, let alone the country, and her family reprimands her for not staying by her children’s side.\u003c/p>\n\u003cfigure id=\"attachment_10134572\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/hrw1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/hrw1.jpg\" alt=\"In the shadow of the sun\" width=\"500\" height=\"332\" class=\"size-full wp-image-10134572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/hrw1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/hrw1-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/hrw1-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>In the Shadow of the Sun\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Characters like Rafea looking to make change their own lives the lives of their communities are the standard in this activist-centered film fest. \u003ci>In the Shadow of the Sun\u003c/i> introduces another individual: Josephat Torner, a Tanzanian man living with albinism. Josephat lives in a country where albinos are farmed for their body parts and called “white devils,” an epithet cast by those who believe the myth that albino body parts bring wealth and good luck. For many in Tanzania, Josephat and others like him are less than human.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Embarking on a countrywide tour, Josephat finds children cloistered into albino-only schools with security guards and high outer walls to keep out predators. He speaks with those prevented from going to school because of the violent bullying. Filmmaker Harry Freeland films these encounters beautifully, showing a beguiling landscape where ugliness lingers in the background.\u003c/p>\n\u003cfigure id=\"attachment_10134573\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/hrw2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/hrw2.jpg\" alt=\"An unreal dream the michael morton story\" width=\"500\" height=\"430\" class=\"size-full wp-image-10134573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/hrw2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/hrw2-400x344.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/hrw2-300x258.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>An Unreal Dream: The Michael Morton Story\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The film festival doesn’t only shed light on human rights violations in third world countries; many of these issues hit home as well. Al Reinert’s \u003ci>An Unreal Dream: The Michael Morton Story\u003c/i> exposes the failings of the U.S. judicial system. After his wife’s murder, Michael Morton was sent to prison and lost his only son. Twenty-five years later, Morton gained his freedom after a simple DNA test and the release of evidence that had been previously surpressed proved his innocence. Another film, \u003ci>The New Black\u003c/i>, covers the marriage equality movement in Maryland, intimately examining the black community’s internal struggle with LGBT rights.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Human Rights Watch Film Festival 2014\u003c/b> opens Thursday, April 10 and runs through Sunday, April 27, 2014 at the Yerba Buena Center for the Arts. For \u003ca href=\"http://www.ybca.org/human-rights-watch#related_events\">tickets and information\u003c/a> visit ybca.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s Human Rights Watch Film Festival is a small documentary showcase featuring six films from the flagship festivals in New York and London. But as limited as the selection may be, the content is expansive, traveling the globe and covering issues as varied as women’s rights, poverty, marriage equality and a failed judicial system.\u003c/p>\n\u003cp>There is plenty of what you might expect — staggering poverty and political injustices caught on film — but for as many moments of sobering reality, there are just as many of human triumph and inspiration.\u003c/p>\n\u003cp>With \u003ci>Rafea: Solar Mama\u003c/i>, filmmakers Jehane Noujaim and Mona Eldaief take us into the Jordanian desert to a Bedouin village rife with poverty and unemployment. There, Rafea raises her children on her own, though she has little money to raise them with. By a stroke of luck, she’s chosen for an international program at the Barefoot College in India, which trains illiterate women from around the world to become solar engineers. \u003c/p>\n\u003cp>Rafea’s tasked with a huge burden: If she succeeds, she’ll become Jordan’s first female solar engineer. She hopes to change the status of women in her village and to become a breadwinner for her family. But her problems are not limited to poverty and illiteracy: Rafea’s husband believes she shouldn’t be allowed outside of the home, let alone the country, and her family reprimands her for not staying by her children’s side.\u003c/p>\n\u003cfigure id=\"attachment_10134572\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/hrw1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/hrw1.jpg\" alt=\"In the shadow of the sun\" width=\"500\" height=\"332\" class=\"size-full wp-image-10134572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/hrw1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/hrw1-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/hrw1-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>In the Shadow of the Sun\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Characters like Rafea looking to make change their own lives the lives of their communities are the standard in this activist-centered film fest. \u003ci>In the Shadow of the Sun\u003c/i> introduces another individual: Josephat Torner, a Tanzanian man living with albinism. Josephat lives in a country where albinos are farmed for their body parts and called “white devils,” an epithet cast by those who believe the myth that albino body parts bring wealth and good luck. For many in Tanzania, Josephat and others like him are less than human.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Embarking on a countrywide tour, Josephat finds children cloistered into albino-only schools with security guards and high outer walls to keep out predators. He speaks with those prevented from going to school because of the violent bullying. Filmmaker Harry Freeland films these encounters beautifully, showing a beguiling landscape where ugliness lingers in the background.\u003c/p>\n\u003cfigure id=\"attachment_10134573\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/hrw2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/hrw2.jpg\" alt=\"An unreal dream the michael morton story\" width=\"500\" height=\"430\" class=\"size-full wp-image-10134573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/hrw2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/hrw2-400x344.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/hrw2-300x258.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>An Unreal Dream: The Michael Morton Story\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The film festival doesn’t only shed light on human rights violations in third world countries; many of these issues hit home as well. Al Reinert’s \u003ci>An Unreal Dream: The Michael Morton Story\u003c/i> exposes the failings of the U.S. judicial system. After his wife’s murder, Michael Morton was sent to prison and lost his only son. Twenty-five years later, Morton gained his freedom after a simple DNA test and the release of evidence that had been previously surpressed proved his innocence. Another film, \u003ci>The New Black\u003c/i>, covers the marriage equality movement in Maryland, intimately examining the black community’s internal struggle with LGBT rights.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Human Rights Watch Film Festival 2014\u003c/b> opens Thursday, April 10 and runs through Sunday, April 27, 2014 at the Yerba Buena Center for the Arts. For \u003ca href=\"http://www.ybca.org/human-rights-watch#related_events\">tickets and information\u003c/a> visit ybca.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "california-films-sweet-sweetbacks-baadasssss-song",
"title": "California Films: Sweet Sweetback's Baadasssss Song",
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"headTitle": "California Films: Sweet Sweetback’s Baadasssss Song | KQED",
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"content": "\u003cfigure id=\"attachment_10134584\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sweetbackposter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sweetbackposter.jpg\" alt=\"Sweet Sweetback's Baadasssss Song\" width=\"500\" height=\"746\" class=\"size-full wp-image-10134584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/sweetbackposter.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/sweetbackposter-400x596.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/sweetbackposter-201x300.jpg 201w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sweet Sweetback’s Baadasssss Song\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>In this occasional series, Jon Brooks looks at films that illustrate different aspects of California culture.\u003c/i>\u003c/p>\n\u003cp>Melvin Van Peebles said he made \u003ci>Sweet Sweetback’s Baadasssss Song\u003c/i>, released in 1971, because he didn’t much care for the way movies portrayed African Americans. When asked later by an interviewer to name some of the films he took issue with, he said, “About every damn thing that had a black person in it.”\u003c/p>\n\u003cp>So while it’s a long way from \u003ca href=\"https://www.google.com/search?q=hattie%20+mcdaniel\">Hattie McDaniel\u003c/a> to \u003ca href=\"https://www.google.com/search?q=sidney+poitier\">Sidney Poitier\u003c/a>, it may be an even more distant journey from Poitier to Van Peebles.\u003c/p>\n\u003cp>The title of \u003ci>Sweet Sweetback’s Baadasssss Song\u003c/i> alone is enough to give pause. The repetition in front, the extra vowel and prolonged sibilance near the rear — suspicion arises that such an affront to the tradition of concise movie titling can only be a juvenile ploy for attention. Things don’t get any more routine once the film starts. A series of shots showing five black women facing the camera is presented with an asymmetrical, vexing syntax: closeup, cut to closeup, pan to closeup, cut to two-shot. The women stare at something but don’t appear to be looking at the same fixed point, another visual pebble in the shoe. In conjunction with the whirring on the soundtrack, it all feels spacey and disorienting.\u003c/p>\n\u003cp>Eventually we see what — or who– holds the women’s attention: a ragged, filthy black boy, his skull marked by bald patches where ringworm has set in. Voraciously, he shovels food into his mouth. Quick freeze frame and cut to a black man, emerging from an underpass, running toward the camera. An epigraph appears on-screen, for some reason in English and French: “Sire, these lines are not a homage to brutality that the artist has invented, but a hymn from the mouth of reality.” That’s a “traditional prologue of the dark ages,” we are told.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> We hear a train, then a siren. Fade. Another on-screen message: “This film is dedicated to all the brothers and sisters who had enough of the Man” (no period).\u003c/p>\n\u003cp>Back to the boy. No dialogue, but we hear the exaggerated clang of dishes. Now the boy is carrying towels; a woman beckons him to her room. She takes her clothes off, then undresses him. Some sort of industrial machinery on the soundtrack. She pulls the boy, maybe all of 12, on top of her. “Move!” she chides. A gospel song on the soundtrack. The boy dutifully humps the woman, who is brought to orgasm. “This little light of mine, I’m gonna let it shine!” we hear sung. “F—,” the woman moans. “You got a sweet, sweet back.”\u003c/p>\n\u003cp>Freeze frame. Big red letters in cartoonish font cover the screen: “Sweet Sweetback’s Baad Asssss Song.” Jazz-funk music over credits:\u003c/p>\n\u003cp style=\"margin-right: 20px;margin-left: 20px\">Starring\u003cbr>\nTHE BLACK COMMUNITY\u003cbr>\nand\u003cbr>\nBRER SOUL.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=0rD1OzJVoWY\u003c/p>\n\u003cp>We’re five minutes in and, uh, just what the hell is going on here? Imagine the disorientation, before \u003ca href=\"http://www.theroot.com/articles/culture/2011/04/blaxploitation_films_40_years_after_sweet_sweetbacks_baadasssss_song.html\">blaxploitation\u003c/a> took hold, from all those black faces on-screen, alone. (Tyler Perry, Spike Lee, Denzel Washington, Wesley Snipes, Samuel Jackson were all just gleams in Hollywood’s eye.) The rest of the film is a political bomb thrown at the movie establishment, and at the “technological colonization of the white aesthetic,” as Van Peebles put it.\u003c/p>\n\u003cp>The boy who lays down with the prostitute (played by Van Peebles’ son Mario) in one freakishly effective cut arises a man. He now earns his keep as a sexual performer in a hard-core burlesque show for mixed-race audiences. Sweetback, as played by Van Peebles, does not derive even an iota of sexual satisfaction from the erotic encounters we see. When the show’s emcee, a fey black man in fairy godmother costume, invites audience members to have sex with Sweetback, a white woman is eager. But the brothel owner shakes his head — not in front of the white cops who have wandered in. “The offer’s only open to … sisters,” the emcee adds.\u003c/p>\n\u003cp>At the time of the film’s release, at least one black group was critical: “Van Peebles pictures sexual freakishness as an essential and unmistakable part of black reality and history, a total distortion and gross affront to black people.” But some black Americans undoubtedly related to the total lack of agency experienced by the character. Objectified, fetishized, Sweetback is such a complete cipher that his employer hands him over to the cops to serve as a fake suspect in a murder. While taking Sweetback to the station, the policemen arrest a young black radical and work him over. For a time Sweetback impassively observes the brutality. But he eventually comes to the radical’s defense, attacking the cops. From then on he roams L.A. as a fugitive. We frequently see him literally on the run, and not necessarily from an immediate pursuer, so that his flight becomes the central metaphor of the film, an almost mythological task. Between these desperate flights, the rest of the film happens: Sweetback has various encounters as the police continue their search, and he winds up in the desert with LAPD canines hot on his trail.\u003c/p>\n\u003cp>Van Peebles recounted a story from the movie’s opening in Atlanta, sitting next to an elderly black woman who mumbled, “Oh Lord, let him die in the desert, don’t let them kill him.” He said about the incident: “It was beyond any thought that someone would defy a white authority and live.”\u003c/p>\n\u003cp>Which brings up the film’s most explosive component: the overt racism and brutality against blacks on display by the LAPD, an \u003ca href=\"http://en.wikipedia.org/wiki/Los_Angeles_Police_Department#Misconduct\">issue that has plagued the department and the community it polices\u003c/a> for decades. We see white police fire a gun next to a black man’s ear; the police commissioner spits out a “nigger” then apologizes to his black officers: “I didn’t mean any offense by that word.” In a case of mistaken identity, cops brutally beat a black man in bed with a white woman. “That’s not him,” one of them realizes. “So what?” says the other.\u003c/p>\n\u003cp>Not exactly crossover material. While \u003ci>Sweetback\u003c/i> is often credited with ushering in the \u003ca href=\"http://en.wikipedia.org/wiki/Blaxploitation\">blaxploitation genre\u003c/a>, it has a much rawer quality than those subsequent 1970s films. And as far as style goes, well, call it impressionistic, call it off-the-wall, or call it a travesty, even. I’ve seen it four times and I still have a hard time figuring out what’s going on. Some audiences weaned on traditional film grammar will find it utterly inaccessible, and you can’t always determine what is a piece of experimental brilliance and what is simply a mistake. If the film has any stylistic antecedents, they’re the films of the French New Wave.\u003c/p>\n\u003cp>Though he’d directed two other features, Van Peebles began his career with no training. He made \u003ci>Sweetback\u003c/i> with a non-union, multi-ethnic crew, half of whom had never seen a camera before, according to the director. They shot guerilla-style, working 20-hour days for almost three weeks. Things went helter skelter on the set. Crew members were arrested. A real gun wound up in the prop box. The film uses mostly amateur actors (including Van Peebles as Sweetback, his stoicism logical and effective, but just as likely due to lack of ability), and the dialogue often feels improvised or uneasily remembered. Dubbed lines, color filters, cross-cut sequences disjointed by an inconsistent soundtrack, repeated shots, freeze frames, double exposures, barely visible lighting — all on display.\u003c/p>\n\u003cp>Even the music at times disintegrates into a shambles. But it’s also the music that frequently compels us to keep watching, and the film actually might be intolerable without it. Written by Van Peebles and recorded by newcomers Earth, Wind and Fire, the jazz-funk score is an all-time great. While you can often lose the narrative thread of \u003ci>Sweetback\u003c/i>, the music married to frequently striking visuals provides some sublimely lyrical moments, a poetic soul-on-fire feeling evoking the metamorphosis of degradation into resilience. It’s probably as apt an anthem as any for the roiling rebellion of that era.\u003c/p>\n\u003cp>Contrary to the Atlanta woman’s fatalism regarding cinematic rebellion by black people, Sweetback manages to escape his pursuers, and the film ends with another on-screen message: “Watch out… a Bad Assss nigger is coming back to collect some dues.”\u003c/p>\n\u003cp>We never did get to see that payment — Van Peebles did not make the sequels he’d intended. So those who craved cinematic catharsis in the form of black retribution against the white power structure had to wait until a \u003ca href=\"http://www.nytimes.com/2012/12/25/movies/quentin-tarantinos-django-unchained-stars-jamie-foxx.html?_r=0\">white director offered it up \u003c/a> 40 years later.\u003c/p>\n\u003cp>Before \u003ci>Sweetback\u003c/i>, Van Peebles had once looked forward to completing a three-picture deal with Columbia, but he’d quarreled with the studio over the ending to \u003ca href=\"http://en.wikipedia.org/wiki/Watermelon_Man_%28film%29\">\u003ci>Watermelon Man\u003c/i>\u003c/a>, a film about a bigoted white man who one day wakes up black. Van Peebles said he sunk “every penny I had” into \u003ci>Sweetback\u003c/i>, completing it with no studio money and a production-saving $50,000 loan from — of all people — Bill Cosby. His studio career over, he turned to the theater, music, and other endeavors.\u003c/p>\n\u003cp>Not every critic took to \u003ci>Sweetback\u003c/i>, as you may imagine. Vincent Canby of the \u003ci>New York Times\u003c/i> \u003ca href=\"http://www.nytimes.com/movie/review?%20res=9801E2D71F3BE73ABC4153DFB366838A669EDE\">reviewed it\u003c/a> like this: \u003c/p>\n\u003cp style=\"margin-right: 20px;margin-left: 20px\">“The movie is the story of Sweet Sweetback’s Baadasssss Flight, accompanied by lots of soundtrack song, a journey made eventually intolerable not only by the hardships and the duplicity (of even white counter-culturalists like the Hells Angels), but by the simplistic sensationalism of the treatment and the eye-disorienting visual style that substitutes film school technical complexities (such as the superimposition of double, triple and quadruple images) for dramatic content. Instead of dramatizing injustice, Van Peebles merchandizes it. With the exception of perhaps a dozen scenes, the movie is composed almost entirely of the sort of fancy montages with which television (is) the goal. Still to be found are a director and a choreographer to guide a cast of about 25.\u003c/p>\n\u003cp>But I think of this in-your-face look at institutional racism along the lines of Henry Miller’s definition of his own \u003ci>Tropic of Cancer\u003c/i>: “This is not a book. This is libel, slander, defamation of character. This is not a book, in the ordinary sense of the word. No, this is a prolonged insult, a gob of spit in the face of Art, a kick in the pants to God, Man, Destiny, Time, Love, Beauty …” Indeed, some things in this movie only John Waters could love: a man on a toilet moving his bowels and wiping himself, a man biting into a raw lizard, a dead dog drowned under water. It all adds up to the sense of being privvy to a perversity usually kept under wraps, and one uniquely disconnected from the American Dream.\u003c/p>\n\u003cp>And, it must be noted, black audiences ate it up. As told by Van Peebles, he could only open the film in two theaters, one in Atlanta and one in Detroit. In Detroit, only three people came to the first show and none to the second. But for the third, the Black Panthers showed up in force and eventually the lines went around the block as word spread. The film did by some accounts $15 million at the box office on a budget of $500,000, partly because of heavy promotion by the Panthers.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“No him, no me,” Dizzy Gillespie once said of Louis Armstrong. In the continuum of African American cinema, \u003ci>Sweet Sweetback’s Baadasssss Song\u003c/i> is at the forefront.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10134584\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sweetbackposter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/sweetbackposter.jpg\" alt=\"Sweet Sweetback's Baadasssss Song\" width=\"500\" height=\"746\" class=\"size-full wp-image-10134584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/sweetbackposter.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/sweetbackposter-400x596.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/sweetbackposter-201x300.jpg 201w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sweet Sweetback’s Baadasssss Song\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>In this occasional series, Jon Brooks looks at films that illustrate different aspects of California culture.\u003c/i>\u003c/p>\n\u003cp>Melvin Van Peebles said he made \u003ci>Sweet Sweetback’s Baadasssss Song\u003c/i>, released in 1971, because he didn’t much care for the way movies portrayed African Americans. When asked later by an interviewer to name some of the films he took issue with, he said, “About every damn thing that had a black person in it.”\u003c/p>\n\u003cp>So while it’s a long way from \u003ca href=\"https://www.google.com/search?q=hattie%20+mcdaniel\">Hattie McDaniel\u003c/a> to \u003ca href=\"https://www.google.com/search?q=sidney+poitier\">Sidney Poitier\u003c/a>, it may be an even more distant journey from Poitier to Van Peebles.\u003c/p>\n\u003cp>The title of \u003ci>Sweet Sweetback’s Baadasssss Song\u003c/i> alone is enough to give pause. The repetition in front, the extra vowel and prolonged sibilance near the rear — suspicion arises that such an affront to the tradition of concise movie titling can only be a juvenile ploy for attention. Things don’t get any more routine once the film starts. A series of shots showing five black women facing the camera is presented with an asymmetrical, vexing syntax: closeup, cut to closeup, pan to closeup, cut to two-shot. The women stare at something but don’t appear to be looking at the same fixed point, another visual pebble in the shoe. In conjunction with the whirring on the soundtrack, it all feels spacey and disorienting.\u003c/p>\n\u003cp>Eventually we see what — or who– holds the women’s attention: a ragged, filthy black boy, his skull marked by bald patches where ringworm has set in. Voraciously, he shovels food into his mouth. Quick freeze frame and cut to a black man, emerging from an underpass, running toward the camera. An epigraph appears on-screen, for some reason in English and French: “Sire, these lines are not a homage to brutality that the artist has invented, but a hymn from the mouth of reality.” That’s a “traditional prologue of the dark ages,” we are told.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> We hear a train, then a siren. Fade. Another on-screen message: “This film is dedicated to all the brothers and sisters who had enough of the Man” (no period).\u003c/p>\n\u003cp>Back to the boy. No dialogue, but we hear the exaggerated clang of dishes. Now the boy is carrying towels; a woman beckons him to her room. She takes her clothes off, then undresses him. Some sort of industrial machinery on the soundtrack. She pulls the boy, maybe all of 12, on top of her. “Move!” she chides. A gospel song on the soundtrack. The boy dutifully humps the woman, who is brought to orgasm. “This little light of mine, I’m gonna let it shine!” we hear sung. “F—,” the woman moans. “You got a sweet, sweet back.”\u003c/p>\n\u003cp>Freeze frame. Big red letters in cartoonish font cover the screen: “Sweet Sweetback’s Baad Asssss Song.” Jazz-funk music over credits:\u003c/p>\n\u003cp style=\"margin-right: 20px;margin-left: 20px\">Starring\u003cbr>\nTHE BLACK COMMUNITY\u003cbr>\nand\u003cbr>\nBRER SOUL.\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/0rD1OzJVoWY'\n title='//www.youtube.com/embed/0rD1OzJVoWY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We’re five minutes in and, uh, just what the hell is going on here? Imagine the disorientation, before \u003ca href=\"http://www.theroot.com/articles/culture/2011/04/blaxploitation_films_40_years_after_sweet_sweetbacks_baadasssss_song.html\">blaxploitation\u003c/a> took hold, from all those black faces on-screen, alone. (Tyler Perry, Spike Lee, Denzel Washington, Wesley Snipes, Samuel Jackson were all just gleams in Hollywood’s eye.) The rest of the film is a political bomb thrown at the movie establishment, and at the “technological colonization of the white aesthetic,” as Van Peebles put it.\u003c/p>\n\u003cp>The boy who lays down with the prostitute (played by Van Peebles’ son Mario) in one freakishly effective cut arises a man. He now earns his keep as a sexual performer in a hard-core burlesque show for mixed-race audiences. Sweetback, as played by Van Peebles, does not derive even an iota of sexual satisfaction from the erotic encounters we see. When the show’s emcee, a fey black man in fairy godmother costume, invites audience members to have sex with Sweetback, a white woman is eager. But the brothel owner shakes his head — not in front of the white cops who have wandered in. “The offer’s only open to … sisters,” the emcee adds.\u003c/p>\n\u003cp>At the time of the film’s release, at least one black group was critical: “Van Peebles pictures sexual freakishness as an essential and unmistakable part of black reality and history, a total distortion and gross affront to black people.” But some black Americans undoubtedly related to the total lack of agency experienced by the character. Objectified, fetishized, Sweetback is such a complete cipher that his employer hands him over to the cops to serve as a fake suspect in a murder. While taking Sweetback to the station, the policemen arrest a young black radical and work him over. For a time Sweetback impassively observes the brutality. But he eventually comes to the radical’s defense, attacking the cops. From then on he roams L.A. as a fugitive. We frequently see him literally on the run, and not necessarily from an immediate pursuer, so that his flight becomes the central metaphor of the film, an almost mythological task. Between these desperate flights, the rest of the film happens: Sweetback has various encounters as the police continue their search, and he winds up in the desert with LAPD canines hot on his trail.\u003c/p>\n\u003cp>Van Peebles recounted a story from the movie’s opening in Atlanta, sitting next to an elderly black woman who mumbled, “Oh Lord, let him die in the desert, don’t let them kill him.” He said about the incident: “It was beyond any thought that someone would defy a white authority and live.”\u003c/p>\n\u003cp>Which brings up the film’s most explosive component: the overt racism and brutality against blacks on display by the LAPD, an \u003ca href=\"http://en.wikipedia.org/wiki/Los_Angeles_Police_Department#Misconduct\">issue that has plagued the department and the community it polices\u003c/a> for decades. We see white police fire a gun next to a black man’s ear; the police commissioner spits out a “nigger” then apologizes to his black officers: “I didn’t mean any offense by that word.” In a case of mistaken identity, cops brutally beat a black man in bed with a white woman. “That’s not him,” one of them realizes. “So what?” says the other.\u003c/p>\n\u003cp>Not exactly crossover material. While \u003ci>Sweetback\u003c/i> is often credited with ushering in the \u003ca href=\"http://en.wikipedia.org/wiki/Blaxploitation\">blaxploitation genre\u003c/a>, it has a much rawer quality than those subsequent 1970s films. And as far as style goes, well, call it impressionistic, call it off-the-wall, or call it a travesty, even. I’ve seen it four times and I still have a hard time figuring out what’s going on. Some audiences weaned on traditional film grammar will find it utterly inaccessible, and you can’t always determine what is a piece of experimental brilliance and what is simply a mistake. If the film has any stylistic antecedents, they’re the films of the French New Wave.\u003c/p>\n\u003cp>Though he’d directed two other features, Van Peebles began his career with no training. He made \u003ci>Sweetback\u003c/i> with a non-union, multi-ethnic crew, half of whom had never seen a camera before, according to the director. They shot guerilla-style, working 20-hour days for almost three weeks. Things went helter skelter on the set. Crew members were arrested. A real gun wound up in the prop box. The film uses mostly amateur actors (including Van Peebles as Sweetback, his stoicism logical and effective, but just as likely due to lack of ability), and the dialogue often feels improvised or uneasily remembered. Dubbed lines, color filters, cross-cut sequences disjointed by an inconsistent soundtrack, repeated shots, freeze frames, double exposures, barely visible lighting — all on display.\u003c/p>\n\u003cp>Even the music at times disintegrates into a shambles. But it’s also the music that frequently compels us to keep watching, and the film actually might be intolerable without it. Written by Van Peebles and recorded by newcomers Earth, Wind and Fire, the jazz-funk score is an all-time great. While you can often lose the narrative thread of \u003ci>Sweetback\u003c/i>, the music married to frequently striking visuals provides some sublimely lyrical moments, a poetic soul-on-fire feeling evoking the metamorphosis of degradation into resilience. It’s probably as apt an anthem as any for the roiling rebellion of that era.\u003c/p>\n\u003cp>Contrary to the Atlanta woman’s fatalism regarding cinematic rebellion by black people, Sweetback manages to escape his pursuers, and the film ends with another on-screen message: “Watch out… a Bad Assss nigger is coming back to collect some dues.”\u003c/p>\n\u003cp>We never did get to see that payment — Van Peebles did not make the sequels he’d intended. So those who craved cinematic catharsis in the form of black retribution against the white power structure had to wait until a \u003ca href=\"http://www.nytimes.com/2012/12/25/movies/quentin-tarantinos-django-unchained-stars-jamie-foxx.html?_r=0\">white director offered it up \u003c/a> 40 years later.\u003c/p>\n\u003cp>Before \u003ci>Sweetback\u003c/i>, Van Peebles had once looked forward to completing a three-picture deal with Columbia, but he’d quarreled with the studio over the ending to \u003ca href=\"http://en.wikipedia.org/wiki/Watermelon_Man_%28film%29\">\u003ci>Watermelon Man\u003c/i>\u003c/a>, a film about a bigoted white man who one day wakes up black. Van Peebles said he sunk “every penny I had” into \u003ci>Sweetback\u003c/i>, completing it with no studio money and a production-saving $50,000 loan from — of all people — Bill Cosby. His studio career over, he turned to the theater, music, and other endeavors.\u003c/p>\n\u003cp>Not every critic took to \u003ci>Sweetback\u003c/i>, as you may imagine. Vincent Canby of the \u003ci>New York Times\u003c/i> \u003ca href=\"http://www.nytimes.com/movie/review?%20res=9801E2D71F3BE73ABC4153DFB366838A669EDE\">reviewed it\u003c/a> like this: \u003c/p>\n\u003cp style=\"margin-right: 20px;margin-left: 20px\">“The movie is the story of Sweet Sweetback’s Baadasssss Flight, accompanied by lots of soundtrack song, a journey made eventually intolerable not only by the hardships and the duplicity (of even white counter-culturalists like the Hells Angels), but by the simplistic sensationalism of the treatment and the eye-disorienting visual style that substitutes film school technical complexities (such as the superimposition of double, triple and quadruple images) for dramatic content. Instead of dramatizing injustice, Van Peebles merchandizes it. With the exception of perhaps a dozen scenes, the movie is composed almost entirely of the sort of fancy montages with which television (is) the goal. Still to be found are a director and a choreographer to guide a cast of about 25.\u003c/p>\n\u003cp>But I think of this in-your-face look at institutional racism along the lines of Henry Miller’s definition of his own \u003ci>Tropic of Cancer\u003c/i>: “This is not a book. This is libel, slander, defamation of character. This is not a book, in the ordinary sense of the word. No, this is a prolonged insult, a gob of spit in the face of Art, a kick in the pants to God, Man, Destiny, Time, Love, Beauty …” Indeed, some things in this movie only John Waters could love: a man on a toilet moving his bowels and wiping himself, a man biting into a raw lizard, a dead dog drowned under water. It all adds up to the sense of being privvy to a perversity usually kept under wraps, and one uniquely disconnected from the American Dream.\u003c/p>\n\u003cp>And, it must be noted, black audiences ate it up. As told by Van Peebles, he could only open the film in two theaters, one in Atlanta and one in Detroit. In Detroit, only three people came to the first show and none to the second. But for the third, the Black Panthers showed up in force and eventually the lines went around the block as word spread. The film did by some accounts $15 million at the box office on a budget of $500,000, partly because of heavy promotion by the Panthers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“No him, no me,” Dizzy Gillespie once said of Louis Armstrong. In the continuum of African American cinema, \u003ci>Sweet Sweetback’s Baadasssss Song\u003c/i> is at the forefront.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New Cesar Chavez Film Puts Spotlight on Delano",
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"content": "\u003cp>The first feature film about an iconic California farm labor leader hits theaters later this month. It’s called, simply, “Cesar Chavez,” and it puts the Kern County farm town of Delano center stage. But if you visit Delano today, it’s not so easy to find the sites depicted in the \u003ca href=\"http://www.californiareport.org/archive/R201403141630/b\" target=\"_blank\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.californiareport.org/archive/R201403141630/b\" target=\"_blank\" title=\"New Cesar Chavez Film Puts Spotlight on Delano\" rel=\"noopener\">Forum Films\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The first feature film about an iconic California farm labor leader hits theaters later this month. It's called, simply, \"Cesar Chavez,\" and it puts the Kern County farm town of Delano center stage. But if you visit Delano today, it's not so easy to find the sites depicted in the \u003ca href=\"http://www.californiareport.org/archive/R201403141630/b\" target=\"_blank\" class=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first feature film about an iconic California farm labor leader hits theaters later this month. It’s called, simply, “Cesar Chavez,” and it puts the Kern County farm town of Delano center stage. But if you visit Delano today, it’s not so easy to find the sites depicted in the \u003ca href=\"http://www.californiareport.org/archive/R201403141630/b\" target=\"_blank\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.californiareport.org/archive/R201403141630/b\" target=\"_blank\" title=\"New Cesar Chavez Film Puts Spotlight on Delano\" rel=\"noopener\">Forum Films\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_11727\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/?attachment_id=11727\" rel=\"attachment wp-att-11727\">\u003cimg class=\"size-full wp-image-11727\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/vertigo.jpg\" alt=\"Photo: Universal Pictures\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/vertigo.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/vertigo-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Universal Pictures\u003c/figcaption>\u003c/figure>\n\u003cp>Every clique and every city has those films that inevitably come up with greater frequency in conversation. Whether it's because it features the city brilliantly, was made by local talent, has an aesthetic that's been embraced by the neighborhood creatives or is just so brilliant it was bound to be championed by the local thinkers, some films are just beloved city-wide.\u003c/p>\n\u003cp>In my interviews and conversations with other writers and people in the entertainment industry, one theme about our city keeps asserting itself: San Francisco is incredibly film savvy. But of course: we've had Coppola down the block since the '70s, more film festivals than you can count and an active and engaged Film Commission that's making San Francisco a nouveau production Mecca. \u003c/p>\n\u003cp>There could be 30 films on this list of movies you need to see to have a conversation in SF, but I'm going to narrow it down to the films that are most referenced in my personal circles; otherwise, we'd be here all night! If I miss any of your favorites (spoiler alert: I will), leave the title in the comments below!\u003c/p>\n\u003cp>\u003cstrong>Modern Times\u003c/strong>\u003cem>\u003c/em> (1936)\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/IjarLbD9r30\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Charlie Chaplin's relationship with the Bay Area goes back a century; many of his earliest shorts were filmed across the Bay in the charming \u003cem>ville\u003c/em> of Niles Canyon (check out their main street and you'll find lots of Little Tramp branding at local businesses). Any true film lover has an appreciation for the comedic and balletic genius that is Charlie Chaplin and, in San Francisco, \u003cem>Modern Times\u003c/em> seems to be the film most people have the greatest affinity for. It's no surprise Chaplin's indictment of soulless industry, spirit-crushing capitalism and automation (as best personified by the famous scene where Chaplin slips through an assembly-line's gears) continues to resonate with local, politically left audiences. Fun fact: it's the only Chaplin film that features the Little Tramp walking down the dusty road at the end of the film with a friend, the film's heroine, Paulette Goddarrd (his wife at the time). Runner up Chaplin film: \u003cem>City Lights\u003c/em>, 1931.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Pink Flamingos\u003c/em>\u003c/strong> (1972)\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/vUd_6FF4AtM\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Although John Waters is a filmmaker most closely associated with his hometown of Baltimore, he has been embraced in San Francisco since he began touring here for screenings with his drag queen star Divine in the late 1960s. Something about Waters' appreciation of aesthetic kitsch, his \"hippies who were really punks\" characters, his zing-y dialogue amidst absurdly joyful plots and his totally irreverent championing of the outsider has always spoken directly to the spirt of the city. How lucky are we that Waters now makes his home here part of the year? His most famous/notorious film remains 1972's \u003cem>Pink Flamingos,\u003c/em> and if you don't know why it's notorious, we're not going to tell you. What we \u003cem>can\u003c/em> tell you about the film is that it stars Divine and Waters' other iconic \"Dreamland\" actors (Edith Massey, Mink Stole, Mary Vivian Pierce, David Lockary) battling to see who is most worthy of the title \"The Filthiest People Alive.\" It's not just the gays that reference John Waters in San Francisco; all the cool straight people of any generation also know this film and for good reason.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Grey Gardens \u003c/em>\u003c/strong>(1975)\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/mumWYU5aHBU\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\"Let's make the hat a little more \u003cem>Grey Gardens\u003c/em>.\" \"She hadn't cleaned in so long, it looked like \u003cem>Grey Gardens\u003c/em> up in her place.\" \"I love her. She's such a Little Edie type.\" These are all references people have made to the 1975 documentary \u003cem>Grey Gardens\u003c/em> in the last two days alone. The Maysles Brothers' film chronicles the lives of \"Big Edie\" Bouvier Beale and her daughter \"Little Edie\" Beale -- aunt and cousin of former First Lady Jacqueline Kennedy Onassis -- who were living in a rather decayed East Hampton mansion that was the frequent target of the local board of health. The vivid, amusing and poetic mother and daughter (79 and 56 at the time of filming) sang, danced and bickered through Tennessee Williams-esque looks back at their pasts and started countless fashion trends with their DIY bohemian costumes. Little Edie's penchant for head coverings, sweaters worn as skirts (and capes), bathing suit bodices with lace curtain sarongs all held together by a broach have been famously paid homage in various fashion magazines, music videos and art exhibitions, and the film remains a touchstone for documentary film lovers around the world. The Edies' strong streaks of individuality are probably what rings the truest for San Franciscans; aristocrats throwing off their constraints to live like artists was once a very San Francisco quality.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Maltese Falcon \u003c/em>\u003c/strong>(1941)\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/phUxnXGhEiI\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Although none of the noir classic was actually shot in San Francisco (there's some stock footage used for establishing shots at the beginning of the film), you feel like you're actually in the Tenderloin of the '30s and '40s whenever you watch the famed Humphrey Bogart detective film. When you think San Francisco noir, you think of Dashiell Hammett's \u003cem>The Maltese Falcon\u003c/em> (almost every trope of the genre came from this film). It is your civic duty to watch and reference this film at least once a year and, at least once in your life, you must visit the falcon displayed at John's Grill and then swing by Dashiell Hammett Alley (where the writer's Tenderloin apartment was located) to pay your respects. Don't embarrass yourself by not getting references to \"the stuff dreams are made of\" or any other moments from the film. Netflix it! Or better yet, see it at the Castro Theatre next time it's playing.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>So I Married an Axe Murder \u003c/em>\u003c/strong>(1993)\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/O3TgDBN7wk4\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Everything \u003cem>The Maltese Falcon\u003c/em> is to 1930s San Francisco, \u003cem>So, I Married An Axe Murderer\u003c/em> is to 1990s San Francisco. Natives all know this film: the then under-appreciated Mike Myers comedy has some extremely good vista shots of the city (unexpected neighborhoods too, like Noe Valley and North Beach). It also takes one back to the Beat revival of the '90s coffee house scene for laugh out loud scenes where Myers performs poems about his ex girlfriends with a jazz band. There are thousands of in-jokes still quoted with regularity by kids who grew up in San Francisco in the '90s. Plus, this is the movie that taught us what a haggis is! \"Helllllloooo!\" By the way, you can call me Vicki.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Gimme Shelter\u003c/strong>\u003c/em> (1970)\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/nPNeh4d9guk\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>The Maysles Brothers' documentary following the Rolling Stones on tour has a notorious Bay Area connection: the disastrous Altamont Free Concert was filmed on location at the speedway in Livermore, where a teen was famously stabbed to death during a riot. That said, it's a film that continues to come up in conversation for the incredible footage of the Stones performing live and because many a local camera crew was swept into the production for addition footage. The men and women that were there still love to share their stories, whether they were crew or concert-goer. My favorite comes from a friend who was working with a group of KQED camera operators at the concert: \"You just used the camera to guard yourself and hoped it was still capturing something.\"\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Eraserhead \u003c/em>\u003c/strong>(1977)\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/dU7OqGCIcak\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>David Lynch's dark, experimental and slightly revolting (in the best sense of the word) midnight movie \u003cem>Eraserhead\u003c/em> is not a film to everyone's liking, but for some reason has a loyal San Francisco following. Screenings at the Castro, Roxie and elsewhere in recent years have always been full, and the occasional cutesy drag homage to the film's dancing roast chickens and the lady in the radiator are always good fun. Only in San Francisco can a film that has terrified other audiences with its surreal depictions of nightmarish infants be seen as a beloved aesthetic reference. My favorite local \u003cem>Eraserhead\u003c/em> moment would have to be the bartender whose ringtone was the Pixies' cover of the film's theme song: \"In Heaven, Everything is Fine.\"\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Hemingway and Gellhorn\u003c/em>\u003c/strong> (2012)\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/pWFuQlLqqZk\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Phillip Kaufman's 2012 HBO bio about the marriage between writers Ernest Hemingway and Martha Gellhorn (staring Clive Owen and Nicole Kidman) received mixed reviews, but for months after, San Franciscans couldn't help but mention the Bay Area locations that doubled as foreign countries in film. Marin is Spain! Sausalito is Cuba! Herbst Theater is New York! Even though we're not given credit for it, San Francisco has never looked so good on screen, even if we're playing another city. Nicole Kidman's performance as pioneering female war correspondent Martha Gellhorn also garnered some much deserved praise, easily her strongest character since Virginia Woolf.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Bullit\u003c/strong>\u003c/em> (1968)\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/-Lbs_nYW3-o\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>I'm going to be totally honest with you: I know I've seen the entire Steve McQueen film \u003cem>Bullit\u003c/em> more than once in its entirety, but I only have a vague sense of what the plot is. Something about McQueen as a detective guarding a mob witness and... Yeah, let's just talk about the car chase. One of the most famous car chases in American cinema is featured in \u003cem>Bullit\u003c/em> where McQueen, in a 1968 Ford Mustang, goes after the bad guys up and down the hills of San Francisco, as they race around in a 1968 Dodge Charger. Both cars have become iconic to film fans and gear heads alike, and the chase showed off San Francisco like no other film before or since. All these years later, we're still proudly talking about McQueen's bad-assery in this film and it's still fun to try retracing the chase route. Anyone with a '68 Charger want to give me a ride for a follow-up blog?\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Vertigo \u003c/em>\u003c/strong>(1958)\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/Z5jvQwwHQNY\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It has been called one of the most perfect films in cinematic history, and it was mostly shot in San Francisco. No wonder we can't stop talking about it! The Hitchcock classic about dual identity and a certain dizzying feelings stars Jimmy Stewart and Kim Novak in two of the best performances of their careers, and let's just leave plot and character at that. If you haven't seen \u003cem>Vertigo\u003c/em>, I do not want to be the one that gives it away! Fort Point, the Legion of Honor and the Mission Dolores cemetery all have beautiful scenic cameos. Don't let this one fly over your head in conversation any longer; see the movie and then reference away the next time you're bantering with one of our informed cinema citizenry at the next film festival cocktail party.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_11727\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/?attachment_id=11727\" rel=\"attachment wp-att-11727\">\u003cimg class=\"size-full wp-image-11727\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/vertigo.jpg\" alt=\"Photo: Universal Pictures\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/vertigo.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/vertigo-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Universal Pictures\u003c/figcaption>\u003c/figure>\n\u003cp>Every clique and every city has those films that inevitably come up with greater frequency in conversation. Whether it's because it features the city brilliantly, was made by local talent, has an aesthetic that's been embraced by the neighborhood creatives or is just so brilliant it was bound to be championed by the local thinkers, some films are just beloved city-wide.\u003c/p>\n\u003cp>In my interviews and conversations with other writers and people in the entertainment industry, one theme about our city keeps asserting itself: San Francisco is incredibly film savvy. But of course: we've had Coppola down the block since the '70s, more film festivals than you can count and an active and engaged Film Commission that's making San Francisco a nouveau production Mecca. \u003c/p>\n\u003cp>There could be 30 films on this list of movies you need to see to have a conversation in SF, but I'm going to narrow it down to the films that are most referenced in my personal circles; otherwise, we'd be here all night! If I miss any of your favorites (spoiler alert: I will), leave the title in the comments below!\u003c/p>\n\u003cp>\u003cstrong>Modern Times\u003c/strong>\u003cem>\u003c/em> (1936)\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/IjarLbD9r30\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Charlie Chaplin's relationship with the Bay Area goes back a century; many of his earliest shorts were filmed across the Bay in the charming \u003cem>ville\u003c/em> of Niles Canyon (check out their main street and you'll find lots of Little Tramp branding at local businesses). Any true film lover has an appreciation for the comedic and balletic genius that is Charlie Chaplin and, in San Francisco, \u003cem>Modern Times\u003c/em> seems to be the film most people have the greatest affinity for. It's no surprise Chaplin's indictment of soulless industry, spirit-crushing capitalism and automation (as best personified by the famous scene where Chaplin slips through an assembly-line's gears) continues to resonate with local, politically left audiences. Fun fact: it's the only Chaplin film that features the Little Tramp walking down the dusty road at the end of the film with a friend, the film's heroine, Paulette Goddarrd (his wife at the time). Runner up Chaplin film: \u003cem>City Lights\u003c/em>, 1931.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Pink Flamingos\u003c/em>\u003c/strong> (1972)\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/vUd_6FF4AtM\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Although John Waters is a filmmaker most closely associated with his hometown of Baltimore, he has been embraced in San Francisco since he began touring here for screenings with his drag queen star Divine in the late 1960s. Something about Waters' appreciation of aesthetic kitsch, his \"hippies who were really punks\" characters, his zing-y dialogue amidst absurdly joyful plots and his totally irreverent championing of the outsider has always spoken directly to the spirt of the city. How lucky are we that Waters now makes his home here part of the year? His most famous/notorious film remains 1972's \u003cem>Pink Flamingos,\u003c/em> and if you don't know why it's notorious, we're not going to tell you. What we \u003cem>can\u003c/em> tell you about the film is that it stars Divine and Waters' other iconic \"Dreamland\" actors (Edith Massey, Mink Stole, Mary Vivian Pierce, David Lockary) battling to see who is most worthy of the title \"The Filthiest People Alive.\" It's not just the gays that reference John Waters in San Francisco; all the cool straight people of any generation also know this film and for good reason.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Grey Gardens \u003c/em>\u003c/strong>(1975)\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/mumWYU5aHBU\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\"Let's make the hat a little more \u003cem>Grey Gardens\u003c/em>.\" \"She hadn't cleaned in so long, it looked like \u003cem>Grey Gardens\u003c/em> up in her place.\" \"I love her. She's such a Little Edie type.\" These are all references people have made to the 1975 documentary \u003cem>Grey Gardens\u003c/em> in the last two days alone. The Maysles Brothers' film chronicles the lives of \"Big Edie\" Bouvier Beale and her daughter \"Little Edie\" Beale -- aunt and cousin of former First Lady Jacqueline Kennedy Onassis -- who were living in a rather decayed East Hampton mansion that was the frequent target of the local board of health. The vivid, amusing and poetic mother and daughter (79 and 56 at the time of filming) sang, danced and bickered through Tennessee Williams-esque looks back at their pasts and started countless fashion trends with their DIY bohemian costumes. Little Edie's penchant for head coverings, sweaters worn as skirts (and capes), bathing suit bodices with lace curtain sarongs all held together by a broach have been famously paid homage in various fashion magazines, music videos and art exhibitions, and the film remains a touchstone for documentary film lovers around the world. The Edies' strong streaks of individuality are probably what rings the truest for San Franciscans; aristocrats throwing off their constraints to live like artists was once a very San Francisco quality.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Maltese Falcon \u003c/em>\u003c/strong>(1941)\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/phUxnXGhEiI\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Although none of the noir classic was actually shot in San Francisco (there's some stock footage used for establishing shots at the beginning of the film), you feel like you're actually in the Tenderloin of the '30s and '40s whenever you watch the famed Humphrey Bogart detective film. When you think San Francisco noir, you think of Dashiell Hammett's \u003cem>The Maltese Falcon\u003c/em> (almost every trope of the genre came from this film). It is your civic duty to watch and reference this film at least once a year and, at least once in your life, you must visit the falcon displayed at John's Grill and then swing by Dashiell Hammett Alley (where the writer's Tenderloin apartment was located) to pay your respects. Don't embarrass yourself by not getting references to \"the stuff dreams are made of\" or any other moments from the film. Netflix it! Or better yet, see it at the Castro Theatre next time it's playing.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>So I Married an Axe Murder \u003c/em>\u003c/strong>(1993)\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/O3TgDBN7wk4\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Everything \u003cem>The Maltese Falcon\u003c/em> is to 1930s San Francisco, \u003cem>So, I Married An Axe Murderer\u003c/em> is to 1990s San Francisco. Natives all know this film: the then under-appreciated Mike Myers comedy has some extremely good vista shots of the city (unexpected neighborhoods too, like Noe Valley and North Beach). It also takes one back to the Beat revival of the '90s coffee house scene for laugh out loud scenes where Myers performs poems about his ex girlfriends with a jazz band. There are thousands of in-jokes still quoted with regularity by kids who grew up in San Francisco in the '90s. Plus, this is the movie that taught us what a haggis is! \"Helllllloooo!\" By the way, you can call me Vicki.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Gimme Shelter\u003c/strong>\u003c/em> (1970)\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/nPNeh4d9guk\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>The Maysles Brothers' documentary following the Rolling Stones on tour has a notorious Bay Area connection: the disastrous Altamont Free Concert was filmed on location at the speedway in Livermore, where a teen was famously stabbed to death during a riot. That said, it's a film that continues to come up in conversation for the incredible footage of the Stones performing live and because many a local camera crew was swept into the production for addition footage. The men and women that were there still love to share their stories, whether they were crew or concert-goer. My favorite comes from a friend who was working with a group of KQED camera operators at the concert: \"You just used the camera to guard yourself and hoped it was still capturing something.\"\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Eraserhead \u003c/em>\u003c/strong>(1977)\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/dU7OqGCIcak\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>David Lynch's dark, experimental and slightly revolting (in the best sense of the word) midnight movie \u003cem>Eraserhead\u003c/em> is not a film to everyone's liking, but for some reason has a loyal San Francisco following. Screenings at the Castro, Roxie and elsewhere in recent years have always been full, and the occasional cutesy drag homage to the film's dancing roast chickens and the lady in the radiator are always good fun. Only in San Francisco can a film that has terrified other audiences with its surreal depictions of nightmarish infants be seen as a beloved aesthetic reference. My favorite local \u003cem>Eraserhead\u003c/em> moment would have to be the bartender whose ringtone was the Pixies' cover of the film's theme song: \"In Heaven, Everything is Fine.\"\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Hemingway and Gellhorn\u003c/em>\u003c/strong> (2012)\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/pWFuQlLqqZk\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Phillip Kaufman's 2012 HBO bio about the marriage between writers Ernest Hemingway and Martha Gellhorn (staring Clive Owen and Nicole Kidman) received mixed reviews, but for months after, San Franciscans couldn't help but mention the Bay Area locations that doubled as foreign countries in film. Marin is Spain! Sausalito is Cuba! Herbst Theater is New York! Even though we're not given credit for it, San Francisco has never looked so good on screen, even if we're playing another city. Nicole Kidman's performance as pioneering female war correspondent Martha Gellhorn also garnered some much deserved praise, easily her strongest character since Virginia Woolf.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Bullit\u003c/strong>\u003c/em> (1968)\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/-Lbs_nYW3-o\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>I'm going to be totally honest with you: I know I've seen the entire Steve McQueen film \u003cem>Bullit\u003c/em> more than once in its entirety, but I only have a vague sense of what the plot is. Something about McQueen as a detective guarding a mob witness and... Yeah, let's just talk about the car chase. One of the most famous car chases in American cinema is featured in \u003cem>Bullit\u003c/em> where McQueen, in a 1968 Ford Mustang, goes after the bad guys up and down the hills of San Francisco, as they race around in a 1968 Dodge Charger. Both cars have become iconic to film fans and gear heads alike, and the chase showed off San Francisco like no other film before or since. All these years later, we're still proudly talking about McQueen's bad-assery in this film and it's still fun to try retracing the chase route. Anyone with a '68 Charger want to give me a ride for a follow-up blog?\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Vertigo \u003c/em>\u003c/strong>(1958)\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/Z5jvQwwHQNY\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It has been called one of the most perfect films in cinematic history, and it was mostly shot in San Francisco. No wonder we can't stop talking about it! The Hitchcock classic about dual identity and a certain dizzying feelings stars Jimmy Stewart and Kim Novak in two of the best performances of their careers, and let's just leave plot and character at that. If you haven't seen \u003cem>Vertigo\u003c/em>, I do not want to be the one that gives it away! Fort Point, the Legion of Honor and the Mission Dolores cemetery all have beautiful scenic cameos. Don't let this one fly over your head in conversation any longer; see the movie and then reference away the next time you're bantering with one of our informed cinema citizenry at the next film festival cocktail party.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The late arrival of winter (that is, rain) doesn’t dampen the enthusiasm of Bay Area filmgoers. We simply replace hiking, biking and café-squatting with expeditions to our favorite screening venues. April’s tempting choices include special-interest festivals and the winter-suited works of prominent Eastern European directors. Later in the month, the weather (and everything else) will take a back seat for the San Francisco International Film Festival (opening April 24 at the Castro with the Patricia Highsmith adaptation, \u003ci>The Two Faces of January\u003c/i>). Here’s our guide to getting in shape for the SFIFF.\u003c/p>\n\u003cfigure id=\"attachment_10134626\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/foodfarm.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/foodfarm.jpg\" alt=\"Farms & The City\" width=\"500\" height=\"159\" class=\"size-full wp-image-10134626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/foodfarm.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/foodfarm-400x127.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/foodfarm-300x95.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Farms & The City\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>16th Street in the Mission is Movie Central this weekend, with the Roxie hosting the second Food & Farm Film Fest and the Victoria welcoming San Francisco Cinematheque’s fifth Crossroads festival of experimental film. F&FFF (Apr. 3-6) matches a new or recent movie with a snack from a neighborhood establishment; the most tempting, to our palate, is “Farms & The City” (Apr. 5 at 4pm), a trio of short documentaries about urban gardens accompanied by toasted farro with Alemany Farm beet greens, cilantro, and mint. For \u003ca href=\"http://www.foodandfarmfilms.com/\">more information\u003c/a> visit foodandfarmfilms.com.\u003c/p>\n\u003cfigure id=\"attachment_10134627\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/aspell.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/aspell.jpg\" alt=\"<br />Ben Rivers & Ben Russell, A Spell to Ward Off the Darkness, 2013\" width=\"500\" height=\"333\" class=\"size-full wp-image-10134627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/aspell.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/aspell-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/aspell-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ben Rivers & Ben Russell, \u003ci>A Spell to Ward Off the Darkness\u003c/i>, 2013\u003c/figcaption>\u003c/figure>\n\u003cp>Motion pictures began as an experiment — literally, if you consider Eadweard Muybridge’s influential 1877 trip-wire photographs of a galloping horse for Leland Stanford — but have been reined in by Hollywood over the decades to fit a fistful of formulas. Experimental filmmakers continue to probe the poetic bounds of the medium through mysterious shards of light, iconoclastic editing and and ephemeral storytelling. S.F. Cinematheque’s Crossroads festival (Apr. 3-6) sold out both of its opening night shows of new films by local marvel Nathaniel Dorsky weeks ago. Dry your eyes at English filmmaker Ben Rivers’ appearance with \u003ci>A Spell to Ward Off the Darkness\u003c/i> or the live-cinema blowout “Apparent Motion,” with performances by Seitz vs Gendreau, Elise Baldwin and Portland’s MSHR. For \u003ca href=\"http://www.sfcinematheque.org/screenings/crossroads-2014/\">more information\u003c/a> visit sfcinematheque.org.\u003c/p>\n\u003cfigure id=\"attachment_10134628\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/diamonds.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/diamonds.jpg\" alt=\"Diamonds of the Night\" width=\"500\" height=\"384\" class=\"size-full wp-image-10134628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/diamonds.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/diamonds-400x307.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/diamonds-300x230.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Diamonds of the Night\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>We lost sight of Jan Nemec, the fierce, sensual and subversive dark star of the Czech New Wave, after his 1960s triumphs. The Pacific Film Archive retrospective “Diamonds of the Night: Jan Nemec” (Apr. 6-23) revives the titular masterpiece along with \u003ci>A Report on the Party and Guests\u003c/i>, \u003ci>Martyrs of Love\u003c/i>. and the director’s recent work, which continues his fascination with memory, poetry and freedom. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/nemec\">more information\u003c/a> visit bampfa.berkeley.edu. If you move quickly, you can catch the last two entries (\u003ci>Colette\u003c/i> and Lousy Bastards) in the “Czech That Film” series of new movies at the Roxie through Apr. 2. For \u003ca href=\"http://www.roxie.com/ai1ec_event/czech-that/?instance_id=1452\">more information\u003c/a> visit roxie.com.\u003c/p>\n\u003cfigure id=\"attachment_10134629\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/solarmama.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/solarmama.jpg\" alt=\"Rafea: Solar Mama\" width=\"500\" height=\"281\" class=\"size-full wp-image-10134629\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/solarmama.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/solarmama-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/solarmama-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Rafea: Solar Mama\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Soviet-run Czechoslavakia looks almost quaint compared to the indignities of a North Korean detention camp, a Texas prison or albino-hunting Tanzania. That’s not to suggest that the latest edition of the Human Rights Watch Film Festival (Apr. 10-27 at Yerba Buena Center For the Arts) is loaded with downers. Oscar nominee Jehane Noujaim (\u003ci>The Square\u003c/i>) and Mona Eldaief’s \u003ci>Rafea: Solar Mama\u003c/i> follows a Bedouin woman on the Jordan-Iraqi border who’s invited to India for training in solar engineering. The film circles back for a new twist on the age-old struggle between progress and tradition. For \u003ca href=\"http://www.ybca.org/human-rights-watch\">more information\u003c/a> visit ybca.org.\u003c/p>\n\u003cfigure id=\"attachment_10134630\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/faust.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/faust.jpg\" alt=\"Faust\" width=\"500\" height=\"314\" class=\"size-full wp-image-10134630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/faust.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/faust-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/faust-300x188.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Faust\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The state of foreign-film distribution in this country is so problemtaic that the last feature by the brilliant Russian director Aleksandr Sukorov (best known for \u003ci>Russian Ark\u003c/i>), which won the Golden Lion at Venice (more than two years ago!) and has the instantly familiar title of \u003ci>Faust\u003c/i>, is only now getting a Bay Area release. Thanks to the Roxie (Apr. 18-24), we’ll see the visionary Sukorov’s take on the ill-fated mark pursued by a soul-seeking devil. Expect ravishing imagery, ambiguous metaphors and a mind-blowing trip. For \u003ca href=\"http://www.roxie.com/ai1ec_event/faust-2/?instance_id=1598\">more information\u003c/a> visit roxie.com.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The late arrival of winter (that is, rain) doesn’t dampen the enthusiasm of Bay Area filmgoers. We simply replace hiking, biking and café-squatting with expeditions to our favorite screening venues. April’s tempting choices include special-interest festivals and the winter-suited works of prominent Eastern European directors. Later in the month, the weather (and everything else) will take a back seat for the San Francisco International Film Festival (opening April 24 at the Castro with the Patricia Highsmith adaptation, \u003ci>The Two Faces of January\u003c/i>). Here’s our guide to getting in shape for the SFIFF.\u003c/p>\n\u003cfigure id=\"attachment_10134626\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/foodfarm.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/foodfarm.jpg\" alt=\"Farms & The City\" width=\"500\" height=\"159\" class=\"size-full wp-image-10134626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/foodfarm.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/foodfarm-400x127.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/foodfarm-300x95.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Farms & The City\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>16th Street in the Mission is Movie Central this weekend, with the Roxie hosting the second Food & Farm Film Fest and the Victoria welcoming San Francisco Cinematheque’s fifth Crossroads festival of experimental film. F&FFF (Apr. 3-6) matches a new or recent movie with a snack from a neighborhood establishment; the most tempting, to our palate, is “Farms & The City” (Apr. 5 at 4pm), a trio of short documentaries about urban gardens accompanied by toasted farro with Alemany Farm beet greens, cilantro, and mint. For \u003ca href=\"http://www.foodandfarmfilms.com/\">more information\u003c/a> visit foodandfarmfilms.com.\u003c/p>\n\u003cfigure id=\"attachment_10134627\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/aspell.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/aspell.jpg\" alt=\"<br />Ben Rivers & Ben Russell, A Spell to Ward Off the Darkness, 2013\" width=\"500\" height=\"333\" class=\"size-full wp-image-10134627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/aspell.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/aspell-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/aspell-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ben Rivers & Ben Russell, \u003ci>A Spell to Ward Off the Darkness\u003c/i>, 2013\u003c/figcaption>\u003c/figure>\n\u003cp>Motion pictures began as an experiment — literally, if you consider Eadweard Muybridge’s influential 1877 trip-wire photographs of a galloping horse for Leland Stanford — but have been reined in by Hollywood over the decades to fit a fistful of formulas. Experimental filmmakers continue to probe the poetic bounds of the medium through mysterious shards of light, iconoclastic editing and and ephemeral storytelling. S.F. Cinematheque’s Crossroads festival (Apr. 3-6) sold out both of its opening night shows of new films by local marvel Nathaniel Dorsky weeks ago. Dry your eyes at English filmmaker Ben Rivers’ appearance with \u003ci>A Spell to Ward Off the Darkness\u003c/i> or the live-cinema blowout “Apparent Motion,” with performances by Seitz vs Gendreau, Elise Baldwin and Portland’s MSHR. For \u003ca href=\"http://www.sfcinematheque.org/screenings/crossroads-2014/\">more information\u003c/a> visit sfcinematheque.org.\u003c/p>\n\u003cfigure id=\"attachment_10134628\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/diamonds.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/diamonds.jpg\" alt=\"Diamonds of the Night\" width=\"500\" height=\"384\" class=\"size-full wp-image-10134628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/diamonds.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/diamonds-400x307.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/diamonds-300x230.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Diamonds of the Night\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>We lost sight of Jan Nemec, the fierce, sensual and subversive dark star of the Czech New Wave, after his 1960s triumphs. The Pacific Film Archive retrospective “Diamonds of the Night: Jan Nemec” (Apr. 6-23) revives the titular masterpiece along with \u003ci>A Report on the Party and Guests\u003c/i>, \u003ci>Martyrs of Love\u003c/i>. and the director’s recent work, which continues his fascination with memory, poetry and freedom. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/nemec\">more information\u003c/a> visit bampfa.berkeley.edu. If you move quickly, you can catch the last two entries (\u003ci>Colette\u003c/i> and Lousy Bastards) in the “Czech That Film” series of new movies at the Roxie through Apr. 2. For \u003ca href=\"http://www.roxie.com/ai1ec_event/czech-that/?instance_id=1452\">more information\u003c/a> visit roxie.com.\u003c/p>\n\u003cfigure id=\"attachment_10134629\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/solarmama.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/solarmama.jpg\" alt=\"Rafea: Solar Mama\" width=\"500\" height=\"281\" class=\"size-full wp-image-10134629\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/solarmama.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/solarmama-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/solarmama-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Rafea: Solar Mama\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Soviet-run Czechoslavakia looks almost quaint compared to the indignities of a North Korean detention camp, a Texas prison or albino-hunting Tanzania. That’s not to suggest that the latest edition of the Human Rights Watch Film Festival (Apr. 10-27 at Yerba Buena Center For the Arts) is loaded with downers. Oscar nominee Jehane Noujaim (\u003ci>The Square\u003c/i>) and Mona Eldaief’s \u003ci>Rafea: Solar Mama\u003c/i> follows a Bedouin woman on the Jordan-Iraqi border who’s invited to India for training in solar engineering. The film circles back for a new twist on the age-old struggle between progress and tradition. For \u003ca href=\"http://www.ybca.org/human-rights-watch\">more information\u003c/a> visit ybca.org.\u003c/p>\n\u003cfigure id=\"attachment_10134630\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/faust.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/faust.jpg\" alt=\"Faust\" width=\"500\" height=\"314\" class=\"size-full wp-image-10134630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/faust.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/faust-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/faust-300x188.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Faust\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The state of foreign-film distribution in this country is so problemtaic that the last feature by the brilliant Russian director Aleksandr Sukorov (best known for \u003ci>Russian Ark\u003c/i>), which won the Golden Lion at Venice (more than two years ago!) and has the instantly familiar title of \u003ci>Faust\u003c/i>, is only now getting a Bay Area release. Thanks to the Roxie (Apr. 18-24), we’ll see the visionary Sukorov’s take on the ill-fated mark pursued by a soul-seeking devil. Expect ravishing imagery, ambiguous metaphors and a mind-blowing trip. For \u003ca href=\"http://www.roxie.com/ai1ec_event/faust-2/?instance_id=1598\">more information\u003c/a> visit roxie.com.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Approaching the end of the first month in his new job, San Francisco Film Society executive director \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=134174\">Noah Cowan\u003c/a> met the press Tuesday morning in a vista-rich meeting room atop the Fairmont Hotel. The focus of the shindig, and the draw for the majority of film critics and journalists, was the announcement of the complete program of the S.F. International Film Festival (Apr. 24-May 8). Cowan’s appearance was simply the shrimp cocktail on the smorgasbord.\u003c/p>\n\u003cp>To say that Cowan’s introduction was slightly above and to the side of the main event is simply to acknowledge that he was hired after the vast majority of the festival lineup was set. His influence on the organization and the program won’t be discernible for a while, although the Canadian native’s enthusiasm had a palpable effect on the representatives of the Third Estate as well as the members of the local film community in attendance.\u003c/p>\n\u003cp>Although you are no doubt enjoying the vicarious pleasure of sipping coffee and gazing at stunning bay views (even obscured by gray clouds), our pressing business together is identifying the fest’s most intriguing offerings and hottest tickets. Open \u003ca href=\"http://www.sffs.org/exhibition/sf-intl-film-festival#.UzsM88cyGkI\">another window\u003c/a> at sffs.org, and let’s go browsing.\u003c/p>\n\u003cp>Between the sponsors’ allotment, the glitterati and the party crowd, opening and closing night tickets are at a premium. The cognoscenti know the films bookending any festival will likely open within a few months, and turn their attention to the treasures lurking in the program outside of the spotlight. Now that you’ve been advised, the delicious Patricia Highsmith thriller \u003ci>The Two Faces of January\u003c/i>, serving up an Athens feast of Viggo Mortenson, Kirsten Dunst and Oscar Isaac in Kennedy-era attire, launches the festival at the Castro on April 24. The party is at Public Works. The fest wraps May 8 with Chris Messina’s directorial debut, \u003ci>Alex of Venice\u003c/i>, which centers on an overcommitted environmental lawyer (Mary Elizabeth Winstead) whose husband (Messina) and father (Don Johnson, 25 years (!) after \u003ci>Miami Vice\u003c/i>) have had enough.\u003c/p>\n\u003cfigure id=\"attachment_10134618\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/paloalto.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/paloalto.jpg\" alt=\"Palo Alto\" width=\"500\" height=\"293\" class=\"size-full wp-image-10134618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/paloalto.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/paloalto-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/paloalto-300x175.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Palo Alto\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Other certain sellouts include the Centerpiece film, \u003ci>Palo Alto\u003c/i>, (May 3) adapted by Gia Coppola (Francis’ granddaughter) from James Franco’s book about teenagers on the cusp. Speaking of the journey to adulthood, Richard Linklater presents \u003ci>Boyhood\u003c/i>, his pioneering (fictional) portrait of a lad from 6 to 18 and picks up the Founder’s Directing Award at the Castro May 2.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tickets don’t tend to last long for the festival’s annual music-related shows, headed by Stephen Merritt’s live performance of his new score to the disturbing 1927 Tod Browning-Lon Chaney-Joan Crawford silent flick, \u003ci>The Unknown\u003c/i> (May 6 at the Castro). Merritt’s accompaniment to \u003ci>20,000 Leagues Under the Sea\u003c/i> four years ago at the SFIFF didn’t knock me out; perhaps the creepy-nasty subject matter will bring out the darkness in his musical soul. On a more upbeat note, guitarist Thao Nguyen and The Get Down Stay Down deliver an eclectic show Apr. 29 at the Castro that finds them backing a blizzard of silent shorts (from Chaplin’s physical comedy to Harry Smith’s mind-bending animation) augmented with Nguyen’s original sound-video work.\u003c/p>\n\u003cfigure id=\"attachment_10134619\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/20000.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/20000.jpg\" alt=\"20,000 Days on Earth\" width=\"500\" height=\"281\" class=\"size-full wp-image-10134619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/20000.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/20000-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/20000-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>20,000 Days on Earth\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The buzz for those shows extends to a trio of documentaries about musicians with cult followings: \u003ci>The Other One: The Long, Strange Trip of Bob Weir\u003c/i> (plus a live set, reportedly); the world premiere of the melancholy homage to Elliott Smith, \u003ci>Heaven Adores You\u003c/i>; and \u003ci>20,000 Days on Earth\u003c/i>, which worships at the altar of Nick Cave. I’ll go refill my coffee mug while your fingers do the walking at the SFIFF site.\u003c/p>\n\u003cfigure id=\"attachment_10134620\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/huppert.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/huppert.jpg\" alt=\"Tip Top\" width=\"500\" height=\"290\" class=\"size-full wp-image-10134620\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/huppert.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/huppert-400x232.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/huppert-300x174.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Tip Top\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>I pray to a bust of Isabel Huppert, which makes me anything but unique. You’d better hurry to score tickets to Serge Bozon’s murder comedy \u003ci>Tip Top\u003c/i> and Catherine Breillat’s autobiographical \u003ci>Abuse of Weakness\u003c/i>, starring Huppert as a filmmaker made vulnerable by a stroke. French matriarch Agnes Varda’s expansive documentary, \u003ci>From Here to There\u003c/i>, is a must-see, as well as Francois Ozon’s \u003ci>Young & Beautiful\u003c/i>. The 20th anniversary restoration of the director’s cut of Patrice Chereau’s \u003ci>Queen Margot\u003c/i> puts a bloody bow on the Gallic offerings.\u003c/p>\n\u003cp>The most intriguing foreign titles, to my eye, are Romanian wunderkind Corneliu Porumboiu’s \u003ci>When Evening Falls on Bucharest or Metabolism\u003c/i>, persecuted Iranian director Mohammad Rasoulof’s \u003ci>Manuscripts Don’t Burn\u003c/i>, Chinese-based iconoclast Tsai Ming-Liang’s \u003ci>Stray Dogs\u003c/i> and Swedish director Lukas Moodyson’s \u003ci>We Are the Best\u003c/i>. Johannes Holzhausen’s documentary, \u003ci>The Great Museum\u003c/i>, provides a gorgeous behind-the-scenes view of Vienna’s stunning Kunsthistorisches Museum.\u003c/p>\n\u003cfigure id=\"attachment_10134621\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/mushroom.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/mushroom.jpg\" alt=\"The Last Season\" width=\"500\" height=\"281\" class=\"size-full wp-image-10134621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mushroom.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mushroom-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mushroom-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Last Season\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>On the domestic front, Berkeley documentarian and former SFIFF staffer Sara Dosa world premieres the poignant, moody \u003ci>The Last Season\u003c/i>, about mushroom foragers in Oregon. Local audiences finally get a look at Jesse Moss’ multi-garlanded study of economic tensions in North Dakota, \u003ci>The Overnighters\u003c/i>. Another sure-to-be-hot Bay Area ticket is Jeremy Ambers’ \u003ci>Impossible Light\u003c/i>, which tracks the process of lighting the new Bay Bridge. The American indies \u003ci>Hellion\u003c/i>, \u003ci>Night Moves\u003c/i>, \u003ci>The Sacrament\u003c/i> and \u003ci>Skeleton Twins\u003c/i> (with Kristin Wiig and Bill Hader in attendance) are also likely to be packed.\u003c/p>\n\u003cp>Bob Fosse’s breathtakingly audacious (and indulgent) \u003ci>All That Jazz\u003c/i> returns to the screen, while the brilliant essayist and Novikoff Award-winner David Thomson plucks Preston Sturges’ timeless \u003ci>The Lady Eve\u003c/i> from the vault. At the other end of the emotional spectrum, Lino Brocka’s restored 1975 tour de force, \u003ci>Manila in the Claws of Light\u003c/i>, takes us back to the Marcos era. Steven Gaghan, recipient of the Kanbar Award for screenwriting, is saluted with his tough-minded Middle East thriller, \u003ci>Syriana\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_10134622\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/waves.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/waves.jpg\" alt=\"Ten Thousand Waves\" width=\"500\" height=\"333\" class=\"size-full wp-image-10134622\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/waves.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/waves-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/waves-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Ten Thousand Waves\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s Persistence of Vision awardee, Isaac Julien, sits for an onstage chat and screens \u003ci>Ten Thousand Waves\u003c/i>, a past-and-present meditation on Chinese culture originally conceived as an installation. And if you haven’t gotten a sense of the breadth of the festival, I haven’t even mentioned the New Voices in Latin American Cinema sidebar, the array of carefully curated shorts programs, a camouflaged Michael Fassbender in \u003ci>Frank\u003c/i> and the West Coast premiere of \u003ci>Supermensch: The Legend of Shep Gordon\u003c/i>, an affectionate documentary by Mike Myers. Yes, \u003ci>that\u003c/i> Mike Myers.\u003c/p>\n\u003cp>\u003c/p>\u003cp>[ad floatright]\u003c/p>\n\u003cp>If you can’t find something to love in the SFIFF program, the world must not be big enough.\u003c/p>\n\n",
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"excerpt": "Our guide to the hot tickets at this year's San Francisco International Film Festival, which announced its lineup today.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Approaching the end of the first month in his new job, San Francisco Film Society executive director \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=134174\">Noah Cowan\u003c/a> met the press Tuesday morning in a vista-rich meeting room atop the Fairmont Hotel. The focus of the shindig, and the draw for the majority of film critics and journalists, was the announcement of the complete program of the S.F. International Film Festival (Apr. 24-May 8). Cowan’s appearance was simply the shrimp cocktail on the smorgasbord.\u003c/p>\n\u003cp>To say that Cowan’s introduction was slightly above and to the side of the main event is simply to acknowledge that he was hired after the vast majority of the festival lineup was set. His influence on the organization and the program won’t be discernible for a while, although the Canadian native’s enthusiasm had a palpable effect on the representatives of the Third Estate as well as the members of the local film community in attendance.\u003c/p>\n\u003cp>Although you are no doubt enjoying the vicarious pleasure of sipping coffee and gazing at stunning bay views (even obscured by gray clouds), our pressing business together is identifying the fest’s most intriguing offerings and hottest tickets. Open \u003ca href=\"http://www.sffs.org/exhibition/sf-intl-film-festival#.UzsM88cyGkI\">another window\u003c/a> at sffs.org, and let’s go browsing.\u003c/p>\n\u003cp>Between the sponsors’ allotment, the glitterati and the party crowd, opening and closing night tickets are at a premium. The cognoscenti know the films bookending any festival will likely open within a few months, and turn their attention to the treasures lurking in the program outside of the spotlight. Now that you’ve been advised, the delicious Patricia Highsmith thriller \u003ci>The Two Faces of January\u003c/i>, serving up an Athens feast of Viggo Mortenson, Kirsten Dunst and Oscar Isaac in Kennedy-era attire, launches the festival at the Castro on April 24. The party is at Public Works. The fest wraps May 8 with Chris Messina’s directorial debut, \u003ci>Alex of Venice\u003c/i>, which centers on an overcommitted environmental lawyer (Mary Elizabeth Winstead) whose husband (Messina) and father (Don Johnson, 25 years (!) after \u003ci>Miami Vice\u003c/i>) have had enough.\u003c/p>\n\u003cfigure id=\"attachment_10134618\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/paloalto.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/paloalto.jpg\" alt=\"Palo Alto\" width=\"500\" height=\"293\" class=\"size-full wp-image-10134618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/paloalto.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/paloalto-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/paloalto-300x175.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Palo Alto\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Other certain sellouts include the Centerpiece film, \u003ci>Palo Alto\u003c/i>, (May 3) adapted by Gia Coppola (Francis’ granddaughter) from James Franco’s book about teenagers on the cusp. Speaking of the journey to adulthood, Richard Linklater presents \u003ci>Boyhood\u003c/i>, his pioneering (fictional) portrait of a lad from 6 to 18 and picks up the Founder’s Directing Award at the Castro May 2.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tickets don’t tend to last long for the festival’s annual music-related shows, headed by Stephen Merritt’s live performance of his new score to the disturbing 1927 Tod Browning-Lon Chaney-Joan Crawford silent flick, \u003ci>The Unknown\u003c/i> (May 6 at the Castro). Merritt’s accompaniment to \u003ci>20,000 Leagues Under the Sea\u003c/i> four years ago at the SFIFF didn’t knock me out; perhaps the creepy-nasty subject matter will bring out the darkness in his musical soul. On a more upbeat note, guitarist Thao Nguyen and The Get Down Stay Down deliver an eclectic show Apr. 29 at the Castro that finds them backing a blizzard of silent shorts (from Chaplin’s physical comedy to Harry Smith’s mind-bending animation) augmented with Nguyen’s original sound-video work.\u003c/p>\n\u003cfigure id=\"attachment_10134619\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/20000.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/20000.jpg\" alt=\"20,000 Days on Earth\" width=\"500\" height=\"281\" class=\"size-full wp-image-10134619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/20000.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/20000-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/20000-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>20,000 Days on Earth\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The buzz for those shows extends to a trio of documentaries about musicians with cult followings: \u003ci>The Other One: The Long, Strange Trip of Bob Weir\u003c/i> (plus a live set, reportedly); the world premiere of the melancholy homage to Elliott Smith, \u003ci>Heaven Adores You\u003c/i>; and \u003ci>20,000 Days on Earth\u003c/i>, which worships at the altar of Nick Cave. I’ll go refill my coffee mug while your fingers do the walking at the SFIFF site.\u003c/p>\n\u003cfigure id=\"attachment_10134620\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/huppert.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/huppert.jpg\" alt=\"Tip Top\" width=\"500\" height=\"290\" class=\"size-full wp-image-10134620\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/huppert.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/huppert-400x232.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/huppert-300x174.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Tip Top\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>I pray to a bust of Isabel Huppert, which makes me anything but unique. You’d better hurry to score tickets to Serge Bozon’s murder comedy \u003ci>Tip Top\u003c/i> and Catherine Breillat’s autobiographical \u003ci>Abuse of Weakness\u003c/i>, starring Huppert as a filmmaker made vulnerable by a stroke. French matriarch Agnes Varda’s expansive documentary, \u003ci>From Here to There\u003c/i>, is a must-see, as well as Francois Ozon’s \u003ci>Young & Beautiful\u003c/i>. The 20th anniversary restoration of the director’s cut of Patrice Chereau’s \u003ci>Queen Margot\u003c/i> puts a bloody bow on the Gallic offerings.\u003c/p>\n\u003cp>The most intriguing foreign titles, to my eye, are Romanian wunderkind Corneliu Porumboiu’s \u003ci>When Evening Falls on Bucharest or Metabolism\u003c/i>, persecuted Iranian director Mohammad Rasoulof’s \u003ci>Manuscripts Don’t Burn\u003c/i>, Chinese-based iconoclast Tsai Ming-Liang’s \u003ci>Stray Dogs\u003c/i> and Swedish director Lukas Moodyson’s \u003ci>We Are the Best\u003c/i>. Johannes Holzhausen’s documentary, \u003ci>The Great Museum\u003c/i>, provides a gorgeous behind-the-scenes view of Vienna’s stunning Kunsthistorisches Museum.\u003c/p>\n\u003cfigure id=\"attachment_10134621\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/mushroom.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/mushroom.jpg\" alt=\"The Last Season\" width=\"500\" height=\"281\" class=\"size-full wp-image-10134621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mushroom.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mushroom-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/mushroom-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Last Season\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>On the domestic front, Berkeley documentarian and former SFIFF staffer Sara Dosa world premieres the poignant, moody \u003ci>The Last Season\u003c/i>, about mushroom foragers in Oregon. Local audiences finally get a look at Jesse Moss’ multi-garlanded study of economic tensions in North Dakota, \u003ci>The Overnighters\u003c/i>. Another sure-to-be-hot Bay Area ticket is Jeremy Ambers’ \u003ci>Impossible Light\u003c/i>, which tracks the process of lighting the new Bay Bridge. The American indies \u003ci>Hellion\u003c/i>, \u003ci>Night Moves\u003c/i>, \u003ci>The Sacrament\u003c/i> and \u003ci>Skeleton Twins\u003c/i> (with Kristin Wiig and Bill Hader in attendance) are also likely to be packed.\u003c/p>\n\u003cp>Bob Fosse’s breathtakingly audacious (and indulgent) \u003ci>All That Jazz\u003c/i> returns to the screen, while the brilliant essayist and Novikoff Award-winner David Thomson plucks Preston Sturges’ timeless \u003ci>The Lady Eve\u003c/i> from the vault. At the other end of the emotional spectrum, Lino Brocka’s restored 1975 tour de force, \u003ci>Manila in the Claws of Light\u003c/i>, takes us back to the Marcos era. Steven Gaghan, recipient of the Kanbar Award for screenwriting, is saluted with his tough-minded Middle East thriller, \u003ci>Syriana\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_10134622\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/waves.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/waves.jpg\" alt=\"Ten Thousand Waves\" width=\"500\" height=\"333\" class=\"size-full wp-image-10134622\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/waves.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/waves-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/waves-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Ten Thousand Waves\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s Persistence of Vision awardee, Isaac Julien, sits for an onstage chat and screens \u003ci>Ten Thousand Waves\u003c/i>, a past-and-present meditation on Chinese culture originally conceived as an installation. And if you haven’t gotten a sense of the breadth of the festival, I haven’t even mentioned the New Voices in Latin American Cinema sidebar, the array of carefully curated shorts programs, a camouflaged Michael Fassbender in \u003ci>Frank\u003c/i> and the West Coast premiere of \u003ci>Supermensch: The Legend of Shep Gordon\u003c/i>, an affectionate documentary by Mike Myers. Yes, \u003ci>that\u003c/i> Mike Myers.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The new film \u003cem>Cesar Chavez \u003c/em>brings to life the famed civil rights leader, who organized farm laborers and fought to secure a living wage and better working conditions in the fields. He founded the United Farm Workers union in California in 1962, and his work inspired millions of people in the U.S. and internationally. Actor Michael Peña, who plays Chavez, spoke with \u003cem>Tell Me More\u003c/em> host Michel Martin about how he prepared for the role and what it meant to him and his family.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On not knowing\u003c/strong>\u003cstrong> much about Cesar Chavez before the film \u003c/strong>\u003c/p>\n\u003cp>Growing up with two parents that are farm workers — not farmers — the only thing that I knew about him were the streets that were named after him, the schools that were named after him, and a little bit of the story that he worked with farm workers. Me, I’m a Mexican-American, and I don’t know about one of the biggest heroes that we have. That gave me, you know, added motivation to tell this guy’s story.\u003c/p>\n\u003cp>\u003cstrong>On l\u003c/strong>\u003cstrong>earning more about Cesar Chavez \u003c/strong>\u003c/p>\n\u003cp>It didn’t surprise me that he was a vegetarian. He actually loved all these vegetables that he was fighting for — fighting for the workers that, you know, picked them. But also, he was a devout Christian. He read a lot about Gandhi. But the thing that really, I guess, surprised me was: here was a guy who was just a strategist, and he was asked to lead the movement because all his ideas were very practical and very good, you know, at the meetings. I don’t know about you, but for me, if I got to present any kind of award, I’m shaking in my pants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>http://youtu.be/zeo-q-8MOQ4\u003c/p>\n\u003cp>\u003cstrong>On getting\u003c/strong>\u003cstrong> the part \u003c/strong>\u003c/p>\n\u003cp>Oddly enough, I was asked at Comic Con the year before anybody even talked about this movie. They said, “You know if you had a dream role, what would it be?” And it was just a snap answer. I just said, “You know it’d be great to play Cesar Chavez. But I don’t know much of his story.” Nine months later, I got an email saying that [director] Diego Luna wants to meet about Cesar Chavez. And my first question was, “Is it the pugilist or is it the civil rights activist?” And they said, “It’s the civil rights activist.” And I said, “Wow that’s fantastic.” So then I met him. I had to audition three times for it.\u003c/p>\n\u003cp>\u003cstrong>On \u003c/strong>\u003cstrong>gaining weight, shaving teeth and picking grapes to prepare for the role\u003c/strong>\u003c/p>\n\u003cp>I was in really good shape after I finished this movie, \u003cem>End of Watch. \u003c/em>And when I had the meeting with Diego Luna, he says, “You need to gain like 30 pounds man, please.” And I was like, “Uh uh uh of muscle?” — knowing that’s not what he’s gonna say. And he’s like, “No, just of like regular person.” And I was like “Aw man!” You know, I did gain the weight, and thank God that I did because you know, this was a man who wasn’t prone to violence, and if I looked like a Hollywood actor guy that was like in really good shape, then it doesn’t look real and it’s not real.\u003c/p>\n\u003cp>And then I actually shaved like a little gap in between my teeth. The way he said “S”s, a lot of the air passed through it. It really informed the way that he spoke.\u003c/p>\n\u003cp>And that was the other thing that I learned. I learned a little bit of organizing. I went to some of the meetings. I actually picked a lot of grapes, you know, just to have a memory of what it’s like and what you’re actually fighting for, and to see the people that I’m working with.\u003c/p>\n\u003cp>\u003cstrong>On f\u003c/strong>\u003cstrong>inding a personal connection \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My brother and my father both got laid off around the same that I was starting to do this movie \u003cem>Chavez. \u003c/em>And at the same time, it was when all the bailouts were happening. And so it was very similar to these guys that were big business taking advantage of the little guys. And I just wasn’t okay with that. And then I heard about these guys giving themselves huge bonuses when in actuality, they were not good at their job. Their statistics were down tremendously enough so that they woudl be bankrupt. And then when they get a bailout, which means that us taxpayers were actually paying for it, they decided to give themselves bonuses. That kind of filled me with resentment towards these people because it affected me directly, which is exactly what I think that’s how Chavez felt to these people bullying people who didn’t have a voice. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=For+Actor+Michael+Pe%C3%B1a%2C+A+Transformative+Role+As+Cesar+Chavez&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zeo-q-8MOQ4'\n title='//www.youtube.com/embed/zeo-q-8MOQ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On getting\u003c/strong>\u003cstrong> the part \u003c/strong>\u003c/p>\n\u003cp>Oddly enough, I was asked at Comic Con the year before anybody even talked about this movie. They said, “You know if you had a dream role, what would it be?” And it was just a snap answer. I just said, “You know it’d be great to play Cesar Chavez. But I don’t know much of his story.” Nine months later, I got an email saying that [director] Diego Luna wants to meet about Cesar Chavez. And my first question was, “Is it the pugilist or is it the civil rights activist?” And they said, “It’s the civil rights activist.” And I said, “Wow that’s fantastic.” So then I met him. I had to audition three times for it.\u003c/p>\n\u003cp>\u003cstrong>On \u003c/strong>\u003cstrong>gaining weight, shaving teeth and picking grapes to prepare for the role\u003c/strong>\u003c/p>\n\u003cp>I was in really good shape after I finished this movie, \u003cem>End of Watch. \u003c/em>And when I had the meeting with Diego Luna, he says, “You need to gain like 30 pounds man, please.” And I was like, “Uh uh uh of muscle?” — knowing that’s not what he’s gonna say. And he’s like, “No, just of like regular person.” And I was like “Aw man!” You know, I did gain the weight, and thank God that I did because you know, this was a man who wasn’t prone to violence, and if I looked like a Hollywood actor guy that was like in really good shape, then it doesn’t look real and it’s not real.\u003c/p>\n\u003cp>And then I actually shaved like a little gap in between my teeth. The way he said “S”s, a lot of the air passed through it. It really informed the way that he spoke.\u003c/p>\n\u003cp>And that was the other thing that I learned. I learned a little bit of organizing. I went to some of the meetings. I actually picked a lot of grapes, you know, just to have a memory of what it’s like and what you’re actually fighting for, and to see the people that I’m working with.\u003c/p>\n\u003cp>\u003cstrong>On f\u003c/strong>\u003cstrong>inding a personal connection \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My brother and my father both got laid off around the same that I was starting to do this movie \u003cem>Chavez. \u003c/em>And at the same time, it was when all the bailouts were happening. And so it was very similar to these guys that were big business taking advantage of the little guys. And I just wasn’t okay with that. And then I heard about these guys giving themselves huge bonuses when in actuality, they were not good at their job. Their statistics were down tremendously enough so that they woudl be bankrupt. And then when they get a bailout, which means that us taxpayers were actually paying for it, they decided to give themselves bonuses. That kind of filled me with resentment towards these people because it affected me directly, which is exactly what I think that’s how Chavez felt to these people bullying people who didn’t have a voice. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=For+Actor+Michael+Pe%C3%B1a%2C+A+Transformative+Role+As+Cesar+Chavez&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_11608\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/24/le-video-in-danger-how-can-an-analog-business-survive-in-a-digital-world/le-video-sq/\" rel=\"attachment wp-att-11608\">\u003cimg class=\"size-full wp-image-11608\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/le-video-sq.jpg\" alt=\"Photo: Le Video\" width=\"600\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/le-video-sq.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/le-video-sq-400x300.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"https://www.facebook.com/LeVideoSF/photos_stream\">Le Video\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>Since 1980, having faced a number of relocations and industry trends (laserdiscs!), San Francisco's beloved video rental store \u003ca href=\"http://www.levideo.com/\" target=\"_blank\">Le Video\u003c/a> has remained an impressive treasure trove for movie fans of every caliber. For the uninitiated, the store carries over 90,000 movie titles, a lot of which are quite hard to find. \u003ca href=\"https://www.facebook.com/media/set/?set=a.27433195764.40479.27426240764\" target=\"_blank\">Organized meticulously\u003c/a> by countries, directors, screenwriters, and various and evolving sub-genres (Shaw Brothers, Giallo, Spaghetti Westerns), renting a movie at Le Video has always been a little journey of discovery.\u003c/p>\n\u003cp>I was barely out of my teens when I got a job as a clerk at the store. This was in the '90s, and it's there that I cut my teeth on all things film, art, and being young (and a tiny bit pretentious) in San Francisco. Besides expanding my cinematic vocabulary -- from Pedro Almodóvar to \u003cem>Twin Peaks\u003c/em> and Vincent Price -- the store is where I came out of my shell and met a uniquely diverse bunch of people, customers and employees alike.\u003c/p>\n\u003cp>Which is why, when I recently learned of Le Video's possibly imminent closure, I felt a mixture of sadness and guilt. Sadness, because Le Video still holds a special place in my heart, and I still have friends who work there. Guilt, because like many others, I've succumbed to the instant gratification offered to me by the various movie streaming and mail-order services that have emerged over the past few years. Le Video's struggle to remain open is just one of \u003ca href=\"http://www.dnainfo.com/new-york/20140224/greenpoint/one-of-brooklyns-best-loved-video-stores-closing-wednesday\" target=\"_blank\">many\u003c/a> \u003ca href=\"http://www.nbcphiladelphia.com/news/local/One-of-Phillys-Last-Video-Rental-Stores-Video-Library-Closing-242398451.html\" target=\"_blank\">examples\u003c/a> of this sea change (the biggest being Blockbuster's 2013 exit from the retail market), and video rental profits for brick and mortar businesses have been taking a hit for many years now.\u003c/p>\n\u003cfigure id=\"attachment_11567\" class=\"wp-caption alignright\" style=\"max-width: 373px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/aisles.jpg\">\u003cimg class=\" wp-image-11567 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/aisles.jpg\" alt=\"Aisles and aisles of movie magic\" width=\"373\" height=\"280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/aisles.jpg 533w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/aisles-400x300.jpg 400w\" sizes=\"(max-width: 373px) 100vw, 373px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Aisles and aisles of movie magic. Photo: \u003ca href=\"https://www.facebook.com/LeVideoSF/photos_stream\">Le Video\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>Discussing the store's uncertain future with John Taylor, the Buyer for Le Video, I wondered about the difference in \u003ca href=\"http://www.nytimes.com/2014/01/19/books/review/how-have-tools-like-google-and-youtube-changed-the-way-you-work.html?_r=0\" target=\"_blank\">how we discover and access information\u003c/a> these days. In pre-Wikipedia, YouTube and viral culture days, you had to turn to recommendations from friends, or employees at places like Le Video, and those thick tomes indexed annually by critics like Leonard Maltin. While finding stuff online is a lot easier, there is also a temptation to be more passive about it, relying on \u003ca href=\"http://www.wired.com/underwire/2013/08/qq_netflix-algorithm/\" target=\"_blank\">algorithms\u003c/a> that make suggestions based on your history, or following trending content on various social networks. It's not that we're not making any effort at all, but when we want a quick selection, it's easy to settle for readily accessible recommendations.\u003c/p>\n\u003cp>An intelligent system providing suggestions based on your personal preferences is impressive, but these recommendations are still no replacement for human interaction, and are sometimes a bit... odd. (\"Did you enjoy \u003cem>Dexter\u003c/em>? Try \u003cem>Dexter's Laboratory\u003c/em>!\" Quit being cute, Netflix.) At the store, John said, \"You can have a dialogue that lets the staff do a better job to pinpoint something the customer would like. I usually try and ask about something else the person likes, to give me an idea, but from there I use personal experience, not programming to make a determination.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There is no argument that the way we ingest media is profoundly different from a couple of decades ago. There's even quite a bit of debate about just how the internet is actually \u003ca href=\"http://www.theguardian.com/technology/2010/aug/15/internet-brain-neuroscience-debate\" target=\"_blank\">altering us on a neurological level\u003c/a>. So what is an analog business to do in an increasingly digital world? Thinking of ways of adapting, John mentioned that they'd received the suggestion from some people to revert to a membership model. \"You pay an amount and we just pick movies for you.\" Until a system like that could be put in place, a more immediate solution would be to rent out the main floor of the building to another business which, ideally, would collaborate with Le Video.\u003c/p>\n\u003cp>When it comes to new business models replacing something old and familiar, I don't think it's too much to also want an improvement on the selection. The streaming model seems to be working for Netflix when it comes to TV shows, especially considering their popular original series like \u003cem>House of Cards\u003c/em> and \u003cem>Orange is the New Black\u003c/em>. But they've also been \u003ca href=\"http://www.outsidethebeltway.com/netflix-removes-1794-movies-from-library/\" target=\"_blank\">reducing the number of titles\u003c/a> in their collection and cutting back on many DVDs as \u003ca href=\"http://www.businessweek.com/articles/2013-10-21/netflix-may-ditch-dvds-sooner-rather-than-later\" target=\"_blank\">more customers\u003c/a> switch to streaming-only. To even come close to matching the selection offered by a store like Le Video, you would need lots of different subscription memberships. Le Video currently count among their stock many PAL to NTSC transfers of foreign films that still haven't be released domestically, as well as rare imports and a huge stock of films from Warner archives, which the studio pulled from Netflix and made available through their own in-house subscription service. As it stands, where majority of streaming and rent-by-mail services might be great for accessibility, they are definitely lagging in selection.\u003c/p>\n\u003cp>The Le Video family isn't ready to give up yet and a lot of their hope rests on the continued support and word-of-mouth of the\u003ca href=\"https://www.facebook.com/LeVideoSF\" target=\"_blank\"> local community\u003c/a>. There is even an Indiegogo or Kickstarter fundraiser in the works. While they are open, this is as good time as any to drop by for a visit. Here are some suggestions of what you might find at the store that's harder to find elsewhere. (Or, you know, just ask your friendly neighborhood video rental clerk!)\u003c/p>\n\u003cp>\u003cstrong>If you need something for a disco-fueled dance movie night: \u003cem>Skatetown USA\u003c/em>\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/ZiwtTwJkcrM\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>The subversive world of... roller disco! Starring Scott Baio, Patrick Swayze, and a guy with a beard full of glitter.\u003c/p>\n\u003cp>\u003cstrong>If you're looking to be creeped out, artfully: \u003cem>The Reflecting Skin\u003c/em>\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/gxlnDRqPUXE\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Not for the squeamish, this rumination on childhood abuse and the harsh realities of adulthood is woven with horror elements and is one of Viggo Mortensen's early roles.\u003c/p>\n\u003cp>\u003cstrong>If you like claymation and Frank Zappa: \u003cem>The Amazing Mr. Bickford\u003c/em>\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/oO4PlvIE6bk\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>You either like Frank Zappa, or you don't. You either enjoy claymation, or find it weird. 'Nuff said!\u003c/p>\n\u003cp>\u003cstrong>If you want a foreign, quirky romantic comedy: \u003cem>Castaway on the Moon\u003c/em>\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/061ZyqHhdCo\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>He tries to end his life, but ends up washed ashore on an urban island. She is agoraphobic and withdrawn from the world and watching it from her window. They might be meant for each other.\u003c/p>\n\u003cp>\u003cstrong>If... Penn & Teller. Just Penn & Teller: \u003cem>Penn & Teller Get Killed\u003c/em>\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/2Kx5Ex3848k\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I had this in my employee picks section at the store in the '90s. (I was also 19 then.)\u003c/p>\n\n",
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"excerpt": "With instant streaming replacing a stroll to the local video store and algorithms replacing suggestions from video clerks, what are places like SF staple Le Video to do?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_11608\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/24/le-video-in-danger-how-can-an-analog-business-survive-in-a-digital-world/le-video-sq/\" rel=\"attachment wp-att-11608\">\u003cimg class=\"size-full wp-image-11608\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/le-video-sq.jpg\" alt=\"Photo: Le Video\" width=\"600\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/le-video-sq.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/le-video-sq-400x300.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"https://www.facebook.com/LeVideoSF/photos_stream\">Le Video\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>Since 1980, having faced a number of relocations and industry trends (laserdiscs!), San Francisco's beloved video rental store \u003ca href=\"http://www.levideo.com/\" target=\"_blank\">Le Video\u003c/a> has remained an impressive treasure trove for movie fans of every caliber. For the uninitiated, the store carries over 90,000 movie titles, a lot of which are quite hard to find. \u003ca href=\"https://www.facebook.com/media/set/?set=a.27433195764.40479.27426240764\" target=\"_blank\">Organized meticulously\u003c/a> by countries, directors, screenwriters, and various and evolving sub-genres (Shaw Brothers, Giallo, Spaghetti Westerns), renting a movie at Le Video has always been a little journey of discovery.\u003c/p>\n\u003cp>I was barely out of my teens when I got a job as a clerk at the store. This was in the '90s, and it's there that I cut my teeth on all things film, art, and being young (and a tiny bit pretentious) in San Francisco. Besides expanding my cinematic vocabulary -- from Pedro Almodóvar to \u003cem>Twin Peaks\u003c/em> and Vincent Price -- the store is where I came out of my shell and met a uniquely diverse bunch of people, customers and employees alike.\u003c/p>\n\u003cp>Which is why, when I recently learned of Le Video's possibly imminent closure, I felt a mixture of sadness and guilt. Sadness, because Le Video still holds a special place in my heart, and I still have friends who work there. Guilt, because like many others, I've succumbed to the instant gratification offered to me by the various movie streaming and mail-order services that have emerged over the past few years. Le Video's struggle to remain open is just one of \u003ca href=\"http://www.dnainfo.com/new-york/20140224/greenpoint/one-of-brooklyns-best-loved-video-stores-closing-wednesday\" target=\"_blank\">many\u003c/a> \u003ca href=\"http://www.nbcphiladelphia.com/news/local/One-of-Phillys-Last-Video-Rental-Stores-Video-Library-Closing-242398451.html\" target=\"_blank\">examples\u003c/a> of this sea change (the biggest being Blockbuster's 2013 exit from the retail market), and video rental profits for brick and mortar businesses have been taking a hit for many years now.\u003c/p>\n\u003cfigure id=\"attachment_11567\" class=\"wp-caption alignright\" style=\"max-width: 373px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/aisles.jpg\">\u003cimg class=\" wp-image-11567 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/aisles.jpg\" alt=\"Aisles and aisles of movie magic\" width=\"373\" height=\"280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/aisles.jpg 533w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/aisles-400x300.jpg 400w\" sizes=\"(max-width: 373px) 100vw, 373px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Aisles and aisles of movie magic. Photo: \u003ca href=\"https://www.facebook.com/LeVideoSF/photos_stream\">Le Video\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>Discussing the store's uncertain future with John Taylor, the Buyer for Le Video, I wondered about the difference in \u003ca href=\"http://www.nytimes.com/2014/01/19/books/review/how-have-tools-like-google-and-youtube-changed-the-way-you-work.html?_r=0\" target=\"_blank\">how we discover and access information\u003c/a> these days. In pre-Wikipedia, YouTube and viral culture days, you had to turn to recommendations from friends, or employees at places like Le Video, and those thick tomes indexed annually by critics like Leonard Maltin. While finding stuff online is a lot easier, there is also a temptation to be more passive about it, relying on \u003ca href=\"http://www.wired.com/underwire/2013/08/qq_netflix-algorithm/\" target=\"_blank\">algorithms\u003c/a> that make suggestions based on your history, or following trending content on various social networks. It's not that we're not making any effort at all, but when we want a quick selection, it's easy to settle for readily accessible recommendations.\u003c/p>\n\u003cp>An intelligent system providing suggestions based on your personal preferences is impressive, but these recommendations are still no replacement for human interaction, and are sometimes a bit... odd. (\"Did you enjoy \u003cem>Dexter\u003c/em>? Try \u003cem>Dexter's Laboratory\u003c/em>!\" Quit being cute, Netflix.) At the store, John said, \"You can have a dialogue that lets the staff do a better job to pinpoint something the customer would like. I usually try and ask about something else the person likes, to give me an idea, but from there I use personal experience, not programming to make a determination.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There is no argument that the way we ingest media is profoundly different from a couple of decades ago. There's even quite a bit of debate about just how the internet is actually \u003ca href=\"http://www.theguardian.com/technology/2010/aug/15/internet-brain-neuroscience-debate\" target=\"_blank\">altering us on a neurological level\u003c/a>. So what is an analog business to do in an increasingly digital world? Thinking of ways of adapting, John mentioned that they'd received the suggestion from some people to revert to a membership model. \"You pay an amount and we just pick movies for you.\" Until a system like that could be put in place, a more immediate solution would be to rent out the main floor of the building to another business which, ideally, would collaborate with Le Video.\u003c/p>\n\u003cp>When it comes to new business models replacing something old and familiar, I don't think it's too much to also want an improvement on the selection. The streaming model seems to be working for Netflix when it comes to TV shows, especially considering their popular original series like \u003cem>House of Cards\u003c/em> and \u003cem>Orange is the New Black\u003c/em>. But they've also been \u003ca href=\"http://www.outsidethebeltway.com/netflix-removes-1794-movies-from-library/\" target=\"_blank\">reducing the number of titles\u003c/a> in their collection and cutting back on many DVDs as \u003ca href=\"http://www.businessweek.com/articles/2013-10-21/netflix-may-ditch-dvds-sooner-rather-than-later\" target=\"_blank\">more customers\u003c/a> switch to streaming-only. To even come close to matching the selection offered by a store like Le Video, you would need lots of different subscription memberships. Le Video currently count among their stock many PAL to NTSC transfers of foreign films that still haven't be released domestically, as well as rare imports and a huge stock of films from Warner archives, which the studio pulled from Netflix and made available through their own in-house subscription service. As it stands, where majority of streaming and rent-by-mail services might be great for accessibility, they are definitely lagging in selection.\u003c/p>\n\u003cp>The Le Video family isn't ready to give up yet and a lot of their hope rests on the continued support and word-of-mouth of the\u003ca href=\"https://www.facebook.com/LeVideoSF\" target=\"_blank\"> local community\u003c/a>. There is even an Indiegogo or Kickstarter fundraiser in the works. While they are open, this is as good time as any to drop by for a visit. Here are some suggestions of what you might find at the store that's harder to find elsewhere. (Or, you know, just ask your friendly neighborhood video rental clerk!)\u003c/p>\n\u003cp>\u003cstrong>If you need something for a disco-fueled dance movie night: \u003cem>Skatetown USA\u003c/em>\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/ZiwtTwJkcrM\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>The subversive world of... roller disco! Starring Scott Baio, Patrick Swayze, and a guy with a beard full of glitter.\u003c/p>\n\u003cp>\u003cstrong>If you're looking to be creeped out, artfully: \u003cem>The Reflecting Skin\u003c/em>\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/gxlnDRqPUXE\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Not for the squeamish, this rumination on childhood abuse and the harsh realities of adulthood is woven with horror elements and is one of Viggo Mortensen's early roles.\u003c/p>\n\u003cp>\u003cstrong>If you like claymation and Frank Zappa: \u003cem>The Amazing Mr. Bickford\u003c/em>\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/oO4PlvIE6bk\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>You either like Frank Zappa, or you don't. You either enjoy claymation, or find it weird. 'Nuff said!\u003c/p>\n\u003cp>\u003cstrong>If you want a foreign, quirky romantic comedy: \u003cem>Castaway on the Moon\u003c/em>\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/061ZyqHhdCo\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>He tries to end his life, but ends up washed ashore on an urban island. She is agoraphobic and withdrawn from the world and watching it from her window. They might be meant for each other.\u003c/p>\n\u003cp>\u003cstrong>If... Penn & Teller. Just Penn & Teller: \u003cem>Penn & Teller Get Killed\u003c/em>\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/2Kx5Ex3848k\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>In this occasional series, Jon Brooks looks at films that illustrate some unique aspect of California culture.\u003c/i>\u003c/p>\n\u003cp>The story:\u003c/p>\n\u003cp>San Francisco, 1977. After failing to win political office three times, a gay man from the Castro district wins a seat on the city’s Board of Supervisors, where he accomplishes small things, like mitigating the dog poop problem in the parks, and big ones, like passing legislation to prevent discrimination against gays and lesbians. Now a recognized voice for gay civil rights, he takes on a particularly mean-spirited proposition from an Orange County \u003ca href=\"http://en.wikipedia.org/wiki/John_Briggs_%28politician%20%29\">state senator\u003c/a>, banning anyone engaged in “public homosexual conduct” from working in schools. While ahead in the polls initially, the measure loses by a landslide, in no small part due to the political abilities of the San Francisco pol.\u003c/p>\n\u003cp>Three days later, he is dead, along with the city’s mayor, the victims of a double assassination. The perpetrator: an unhinged colleague on the Board, a clean-cut, straight white male, a fellow political neophyte-turned-arch-enemy who had abruptly resigned his office. But he wanted his old job back, unleashing his rage at the two people who he thought stood in his way.\u003c/p>\n\u003cp>After killing the mayor, “he had special bullets for his next task,” wrote Randy Shilts, in his book, \u003ca href=\"http://books.google.com/books?id=HN89LOWz6YEC&pg=PA268&dq=%22dan%20+white%22+%22I+have+something+to+do+first%22+feinstein&hl=en&sa=X&ei=gBMNU8m-%20OYj1oATc0IL4AQ&ved=0CDUQ6AEwAg#v=onepage&q=%22dan%20white%22%20%22I%20%20have%20something%20to%20do%20first%22%20feinstein&f=false\">\u003ci>The Mayor of Castro Street\u003c/i>\u003c/a>. “(T)he hollow-headed dum-dum bullets that explode on impact, ripping a hole into the victim two or three times the size of the slug itself. (He) slipped the five bullets into the revolver’s chamber, stepped out a side door, and dashed toward the other side of City Hall where the supervisors’ offices were.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A female colleague, a future U.S. senator, called to the murderer. He told her, “I have something to do first.” After luring our hero into his office, he shot him with all five bullets, the last two to the head.\u003c/p>\n\u003cp>Police quickly apprehend the assailant and he stands trial for murder — an open and shut case. But when the prosecution plays the confession in court, jury members wipe away tears. The verdict: voluntary manslaughter. Gays riot in the streets. The murderer serves five — count ’em five — years and is then released. Two years later, he commits suicide.\u003c/p>\n\u003cp>You know this tale by now. You can fill in the names — Harvey Milk, Dan White, George Moscone, Dianne Feinstein — without much effort. It’s a terrific plot, really, and if it were only fictional, we could leave it at that. But when you see the documentary \u003ci>The Times of Harvey Milk\u003c/i>, the spellbinding nature of the narrative plays second fiddle to the rage, shock, despair, and, ultimately, hope it evokes.\u003c/p>\n\u003cp>I first saw the film a couple of years after its 1984 release, when I’d never before heard the words “gay” and “civil rights” in the same sentence. Back then, the F-slur fazed me hardly at all; in the schoolyard, it had been almost de rigueur to seize on the slur when you wanted to casually demean someone for anything suspect: a pink shirt, say; or the wrong kind of sneakers. \u003ci>The Times of Harvey Milk\u003c/i> slapped me into another reality, one where an entire class of people struggled for fundamental rights. As a young man, I had been unable to make the connection between those schoolyard taunts and basic human dignity.\u003c/p>\n\u003cp>http://youtu.be/Jet-Ubwk5l8\u003c/p>\n\u003cp>So I consider \u003ca href=\"http://www.tellingpictures.com/about/#rob\">Rob Epstein\u003c/a>‘s movie, winner of the Academy Award for best documentary, one of the more important events in my personal development as a human being. It still stands as a testament to how certain films can act as an antidote to the brutal dismissal of fellow humans. In telling Milk’s story, the filmmakers unerringly curate the wealth of available historical material, drawing on media news reports, photos, newspapers, and interviews. They also make use of wonderful footage of what was then called the Gay Freedom Day Parade, and more from Milk’s district, with the time-defying Castro Theatre looking like the same architectural gateway to the neighborhood it does today. Harvey Fierstein fills in the gaps with narration.\u003c/p>\n\u003cp>The film has an as-it-happened quality — you’ll hear a tape recording Milk made (below) to be played in the event of his assassination; a police transmission the night of the murders that “Harvey Milk and the mayor are supposed to be DOA;” footage of White being led away in handcuffs, and his tearful confession to police; plus an incredible interview with White’s wife in which she calmly asserts there’s “something for us good that can come out of this.” And most notably, the film opens with then-San Francisco Supervisor Dianne Feinstein, looking like she might faint, announcing Moscone and Milk have been shot dead, followed by pandemonium. “The suspect,” she continues, pausing slightly in disbelief, “is Supervisor Dan White.” Finally, we see a covered corpse wheeled out of City Hall. San Francisco politician Tom Ammiano, a schoolteacher and Milk associate at the time, breaks into tears describing his arrival at the scene just as the bodies were removed. (“I never knew Harvey had such big feet,” he recalls thinking.)\u003c/p>\n\u003cp>http://youtu.be/CVb9nt8huMY\u003c/p>\n\u003cp>Other Milk cohorts give powerful testimonials as well, both at the time of events and in retrospect. During the violence that erupted after the Dan White verdict, Supervisor Harry Britt, Milk’s successor, lambastes the jury: “They were saying that the spirit of Dan White, with all of its pettiness, all of its meanness, all of its violence right below the surface is okay.” There is a beautiful sequence showing the reaction by the LGBT community to news of the assassination: thousands of \u003ca href=\"http://thecastro.net/milk/candlemarch.html\">people marching silently through San Francisco holding candles\u003c/a>. Says San Francisco State professor Sally Miller Gearhart: “It was one of the most eloquent expressions of a community response to violence I’ve ever seen.”\u003c/p>\n\u003cp>Some critics have faulted the filmmakers for creating a hagiography. And if you want to fault the documentary for taking liberties, it does \u003ca href=\"http://www.snopes.com/legal/twinkie.asp\">erroneously promulgate the idea that White’s lawyers employed the “Twinkie defense,”\u003c/a> the notion that eating too much junk food contributed to his “\u003ca href=\"http://www.law.cornell.edu/wex/diminished_capacity\">diminished capacity\u003c/a>.” But that Milk took a giant leap in the nation’s slow and still-evolving march toward LGBT equality is indisputable. Says his campaign manager, Anne Kronenberg, in a clip deleted from the final cut, “It doesn’t really matter how accurate or honest the legend about Harvey is. We have something to hold onto as a community.” Says another interviewee: “Before Harvey Milk there was never anyone who was openly gay who any of us could look up to or have as a role model. You grew up, isolated and alone in your own little community, being the thing that everybody didn’t want to be, and was the worst thing you could be, according to your peers in the church and the society and your parents.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>https://youtu.be/lshSKKAyRsA\u003c/p>\n\u003cp>So While Sean Penn makes for a fine Harvey Milk in \u003ca href=\"http://www.imdb.com/title/tt1013753/\">Gus Van Sant’s biopic\u003c/a>, even that gifted an actor can’t project the same power and presence of the person he mimics. It’s quite something to hear this piece of Milk rhetoric, cadence and message perfectly pitched to work the crowd:\u003c/p>\n\u003cp>“Every gay person must come out. As difficult as it is, you must tell your immediate family, you must tell your relatives, you must tell your friends, if indeed they are your friends, you must tell your neighbors, you must tell the people you work with, you must tell the people in the stores you shop in. Once they realize that we are indeed their children — that we are indeed everywhere — every myth, every lie, every innuendo will be destroyed once and for all. And once you do, you will feel so much better.”\u003c/p>\n\u003cp>\u003ci>The Times of Harvey Milk\u003c/i> is a fascinating and enormously moving look at a man and a movement, and at an important era in both San Francisco and LGBT history. It also serves as a reminder of just how far the cause of LGBT rights has come. For instance, a TV news reporter blithely prefaces a question to Milk with, “Some straights are concerned maybe the gays are taking over San Francisco.” At a KQED debate over Proposition 6, with Milk and Gearhart facing off against State Senator Briggs, Briggs claims the banishment of gay teachers would cut down on child molestation. Milk informs him the data shows no correlation between that category of crime and sexual orientation. Briggs insists: “We should cut out the homosexual group” to lessen the odds. This prompts Milk to laugh; he is genuinely amused at the man’s tortured math in the service of bigotry.\u003c/p>\n\u003cp>That blend of common sense and personality during Milk’s just 11-month tenure as an elected official won over many doubters. Jim Elliot, a union leader at the time, acknowledges his homophobia before meeting Milk, whom he calls a “great man” in the film. In the alternate ending, included on the DVD, Elliot describes his reaction when his own daughter came out to him as a lesbian. “She started to cry, my wife is crying, and the world had come to an end. I said, well, so what? Nothing to cry about. You’re gay, you’re gay. That’s it.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“If we learn from history,” Harvey Milk said, “the struggles goes on, and eventually, we will win.”\u003c/p>\n\u003cfigure id=\"attachment_128587\" class=\"wp-caption alignleft\" style=\"max-width: 804px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/current_1371_268.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-128587\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/current_1371_268.jpg\" alt=\"harvey milk\" width=\"804\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/current_1371_268.jpg 804w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/current_1371_268-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/current_1371_268-300x169.jpg 300w\" sizes=\"(max-width: 804px) 100vw, 804px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Source: \u003ca href=\"http://www.criterion.com/current/posts/1789-harvey-s-enduring-legacy\">The Criterion Collection\u003c/a> \u003ccite>(crieterion collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "\u003ci>The Times of Harvey Milk\u003c/i> is a fascinating and enormously moving look at a man and a movement, and at an important era in both San Francisco and LGBT history.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>In this occasional series, Jon Brooks looks at films that illustrate some unique aspect of California culture.\u003c/i>\u003c/p>\n\u003cp>The story:\u003c/p>\n\u003cp>San Francisco, 1977. After failing to win political office three times, a gay man from the Castro district wins a seat on the city’s Board of Supervisors, where he accomplishes small things, like mitigating the dog poop problem in the parks, and big ones, like passing legislation to prevent discrimination against gays and lesbians. Now a recognized voice for gay civil rights, he takes on a particularly mean-spirited proposition from an Orange County \u003ca href=\"http://en.wikipedia.org/wiki/John_Briggs_%28politician%20%29\">state senator\u003c/a>, banning anyone engaged in “public homosexual conduct” from working in schools. While ahead in the polls initially, the measure loses by a landslide, in no small part due to the political abilities of the San Francisco pol.\u003c/p>\n\u003cp>Three days later, he is dead, along with the city’s mayor, the victims of a double assassination. The perpetrator: an unhinged colleague on the Board, a clean-cut, straight white male, a fellow political neophyte-turned-arch-enemy who had abruptly resigned his office. But he wanted his old job back, unleashing his rage at the two people who he thought stood in his way.\u003c/p>\n\u003cp>After killing the mayor, “he had special bullets for his next task,” wrote Randy Shilts, in his book, \u003ca href=\"http://books.google.com/books?id=HN89LOWz6YEC&pg=PA268&dq=%22dan%20+white%22+%22I+have+something+to+do+first%22+feinstein&hl=en&sa=X&ei=gBMNU8m-%20OYj1oATc0IL4AQ&ved=0CDUQ6AEwAg#v=onepage&q=%22dan%20white%22%20%22I%20%20have%20something%20to%20do%20first%22%20feinstein&f=false\">\u003ci>The Mayor of Castro Street\u003c/i>\u003c/a>. “(T)he hollow-headed dum-dum bullets that explode on impact, ripping a hole into the victim two or three times the size of the slug itself. (He) slipped the five bullets into the revolver’s chamber, stepped out a side door, and dashed toward the other side of City Hall where the supervisors’ offices were.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A female colleague, a future U.S. senator, called to the murderer. He told her, “I have something to do first.” After luring our hero into his office, he shot him with all five bullets, the last two to the head.\u003c/p>\n\u003cp>Police quickly apprehend the assailant and he stands trial for murder — an open and shut case. But when the prosecution plays the confession in court, jury members wipe away tears. The verdict: voluntary manslaughter. Gays riot in the streets. The murderer serves five — count ’em five — years and is then released. Two years later, he commits suicide.\u003c/p>\n\u003cp>You know this tale by now. You can fill in the names — Harvey Milk, Dan White, George Moscone, Dianne Feinstein — without much effort. It’s a terrific plot, really, and if it were only fictional, we could leave it at that. But when you see the documentary \u003ci>The Times of Harvey Milk\u003c/i>, the spellbinding nature of the narrative plays second fiddle to the rage, shock, despair, and, ultimately, hope it evokes.\u003c/p>\n\u003cp>I first saw the film a couple of years after its 1984 release, when I’d never before heard the words “gay” and “civil rights” in the same sentence. Back then, the F-slur fazed me hardly at all; in the schoolyard, it had been almost de rigueur to seize on the slur when you wanted to casually demean someone for anything suspect: a pink shirt, say; or the wrong kind of sneakers. \u003ci>The Times of Harvey Milk\u003c/i> slapped me into another reality, one where an entire class of people struggled for fundamental rights. As a young man, I had been unable to make the connection between those schoolyard taunts and basic human dignity.\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/Jet-Ubwk5l8'\n title='//www.youtube.com/embed/Jet-Ubwk5l8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So I consider \u003ca href=\"http://www.tellingpictures.com/about/#rob\">Rob Epstein\u003c/a>‘s movie, winner of the Academy Award for best documentary, one of the more important events in my personal development as a human being. It still stands as a testament to how certain films can act as an antidote to the brutal dismissal of fellow humans. In telling Milk’s story, the filmmakers unerringly curate the wealth of available historical material, drawing on media news reports, photos, newspapers, and interviews. They also make use of wonderful footage of what was then called the Gay Freedom Day Parade, and more from Milk’s district, with the time-defying Castro Theatre looking like the same architectural gateway to the neighborhood it does today. Harvey Fierstein fills in the gaps with narration.\u003c/p>\n\u003cp>The film has an as-it-happened quality — you’ll hear a tape recording Milk made (below) to be played in the event of his assassination; a police transmission the night of the murders that “Harvey Milk and the mayor are supposed to be DOA;” footage of White being led away in handcuffs, and his tearful confession to police; plus an incredible interview with White’s wife in which she calmly asserts there’s “something for us good that can come out of this.” And most notably, the film opens with then-San Francisco Supervisor Dianne Feinstein, looking like she might faint, announcing Moscone and Milk have been shot dead, followed by pandemonium. “The suspect,” she continues, pausing slightly in disbelief, “is Supervisor Dan White.” Finally, we see a covered corpse wheeled out of City Hall. San Francisco politician Tom Ammiano, a schoolteacher and Milk associate at the time, breaks into tears describing his arrival at the scene just as the bodies were removed. (“I never knew Harvey had such big feet,” he recalls thinking.)\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/CVb9nt8huMY'\n title='//www.youtube.com/embed/CVb9nt8huMY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Other Milk cohorts give powerful testimonials as well, both at the time of events and in retrospect. During the violence that erupted after the Dan White verdict, Supervisor Harry Britt, Milk’s successor, lambastes the jury: “They were saying that the spirit of Dan White, with all of its pettiness, all of its meanness, all of its violence right below the surface is okay.” There is a beautiful sequence showing the reaction by the LGBT community to news of the assassination: thousands of \u003ca href=\"http://thecastro.net/milk/candlemarch.html\">people marching silently through San Francisco holding candles\u003c/a>. Says San Francisco State professor Sally Miller Gearhart: “It was one of the most eloquent expressions of a community response to violence I’ve ever seen.”\u003c/p>\n\u003cp>Some critics have faulted the filmmakers for creating a hagiography. And if you want to fault the documentary for taking liberties, it does \u003ca href=\"http://www.snopes.com/legal/twinkie.asp\">erroneously promulgate the idea that White’s lawyers employed the “Twinkie defense,”\u003c/a> the notion that eating too much junk food contributed to his “\u003ca href=\"http://www.law.cornell.edu/wex/diminished_capacity\">diminished capacity\u003c/a>.” But that Milk took a giant leap in the nation’s slow and still-evolving march toward LGBT equality is indisputable. Says his campaign manager, Anne Kronenberg, in a clip deleted from the final cut, “It doesn’t really matter how accurate or honest the legend about Harvey is. We have something to hold onto as a community.” Says another interviewee: “Before Harvey Milk there was never anyone who was openly gay who any of us could look up to or have as a role model. You grew up, isolated and alone in your own little community, being the thing that everybody didn’t want to be, and was the worst thing you could be, according to your peers in the church and the society and your parents.”\u003c/p>\n\u003cp> \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lshSKKAyRsA'\n title='//www.youtube.com/embed/lshSKKAyRsA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So While Sean Penn makes for a fine Harvey Milk in \u003ca href=\"http://www.imdb.com/title/tt1013753/\">Gus Van Sant’s biopic\u003c/a>, even that gifted an actor can’t project the same power and presence of the person he mimics. It’s quite something to hear this piece of Milk rhetoric, cadence and message perfectly pitched to work the crowd:\u003c/p>\n\u003cp>“Every gay person must come out. As difficult as it is, you must tell your immediate family, you must tell your relatives, you must tell your friends, if indeed they are your friends, you must tell your neighbors, you must tell the people you work with, you must tell the people in the stores you shop in. Once they realize that we are indeed their children — that we are indeed everywhere — every myth, every lie, every innuendo will be destroyed once and for all. And once you do, you will feel so much better.”\u003c/p>\n\u003cp>\u003ci>The Times of Harvey Milk\u003c/i> is a fascinating and enormously moving look at a man and a movement, and at an important era in both San Francisco and LGBT history. It also serves as a reminder of just how far the cause of LGBT rights has come. For instance, a TV news reporter blithely prefaces a question to Milk with, “Some straights are concerned maybe the gays are taking over San Francisco.” At a KQED debate over Proposition 6, with Milk and Gearhart facing off against State Senator Briggs, Briggs claims the banishment of gay teachers would cut down on child molestation. Milk informs him the data shows no correlation between that category of crime and sexual orientation. Briggs insists: “We should cut out the homosexual group” to lessen the odds. This prompts Milk to laugh; he is genuinely amused at the man’s tortured math in the service of bigotry.\u003c/p>\n\u003cp>That blend of common sense and personality during Milk’s just 11-month tenure as an elected official won over many doubters. Jim Elliot, a union leader at the time, acknowledges his homophobia before meeting Milk, whom he calls a “great man” in the film. In the alternate ending, included on the DVD, Elliot describes his reaction when his own daughter came out to him as a lesbian. “She started to cry, my wife is crying, and the world had come to an end. I said, well, so what? Nothing to cry about. You’re gay, you’re gay. That’s it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If we learn from history,” Harvey Milk said, “the struggles goes on, and eventually, we will win.”\u003c/p>\n\u003cfigure id=\"attachment_128587\" class=\"wp-caption alignleft\" style=\"max-width: 804px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/current_1371_268.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-128587\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/current_1371_268.jpg\" alt=\"harvey milk\" width=\"804\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/current_1371_268.jpg 804w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/current_1371_268-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/current_1371_268-300x169.jpg 300w\" sizes=\"(max-width: 804px) 100vw, 804px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Source: \u003ca href=\"http://www.criterion.com/current/posts/1789-harvey-s-enduring-legacy\">The Criterion Collection\u003c/a> \u003ccite>(crieterion collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "jodorowskys-dune-the-greatest-film-that-never-was",
"title": "'Jodorowsky's Dune': The Greatest Film That Never Was",
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"headTitle": "‘Jodorowsky’s Dune’: The Greatest Film That Never Was | KQED",
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"content": "\u003cp>\u003cem>“Dune\u003c/em> will be the coming of God.”\u003c/p>\n\u003cp>Hyperbole, thy name is Alejandro Jodorowsky. Early on in Frank Pavich’s documentary about Jodorowsky’s failed attempt to bring Frank Herbert’s science-fiction epic to the screen back in the 1970s, he not only compares his vision to that of the arrival of a deity, but also claims that it would have given sober viewers the exact feeling of being on LSD.\u003c/p>\n\u003cp>The Chilean-born director speaks of recruiting not technicians and artists, but fellow spiritual warriors. At one point, he describes a shot from the planned film that he intended would outdo Orson Welles’ legendary opening tracking shot in \u003cem>Touch of Evil—\u003c/em>only in service of showing the entirety of the cosmos.\u003c/p>\n\u003cp>Basically, dream big or just don’t dream at all.\u003c/p>\n\u003cp>Pavich’s documentary tempers that kind of imaginative chaos by telling a fairly straightforward story of how, in 1975, one of the biggest figures in cult cinema got his hands on one of the biggest novels in science fiction and set out to make a movie with the modest ambition of changing how we see movies forever. That straightforward presentation makes the documentary highly accessible—but also sometimes feels at odds with the manic, hallucinatory energy of its subject.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>http://youtu.be/4WWu1kclNDA\u003c/p>\n\u003cp>The film begins by neatly summarizing Jodorowsky’s career through the ’60s and early ’70s, with particular focus on 1970’s \u003cem>El Topo\u003c/em> (cited as patient zero in the ’70s midnight movie trend) and 1973’s mind-bending \u003cem>The Holy Mountain\u003c/em>. The latter caught the attention of French producer Michel Seydoux, who essentially offered Jodorowsky carte blanche for his next project, and the director chose to adapt a book, \u003cem>Dune\u003c/em>, that was widely regarded as unfilmable.\u003c/p>\n\u003cp>Once the two of them get together, Pavich progresses methodically through Jodorowsky’s pre-production process, including the recruitment of those “spiritual warriors”: special-effects technician Dan O’Bannon, designers Jean Giraud (known by the pseudonym Mœbius) and H.R. Giger, Pink Floyd, and actors including Orson Welles, Mick Jagger, and in one of the movie’s most hilarious stories, Salvador Dali. The latter is recruited mainly by tricking him into thinking he’ll be receiving the highest salary ever paid an actor. Essentially, Jodorowsky was going after outsized creative personas just as mad as he was.\u003c/p>\n\u003cp>The parts of the movie focusing on the design are some of the strongest, as Pavich gets full access to the staggering number of sketches and storyboards that were assembled—which Seydoux and Jodorowsky bound in massive coffee-table tomes to distribute to studios in the (eventually dashed) hopes they’d back the actual production. Pavich animates many of these, giving us the closest thing to an actual look at what Jodorowsky’s version of \u003cem>Dune\u003c/em> might have looked like.\u003c/p>\n\u003cp>This is not a documentary about a failed movie in the same way that \u003cem>Lost in La Mancha\u003c/em> told the story of Terry Gilliam’s scuttled Don Quixote adaptation. That film included massive amounts of on-set footage before that production was shut down, and nothing like that is available here. As a result, Pavich must mostly rely on a talking-head format augmented by those animations. Lucky for him, his primary talking head is Jodorowsky himself, as lively and frenzied as a hyperactive 12-year-old despite now being well into his 80s.\u003c/p>\n\u003cp>Many of his recruits, interviewed here, tell of being won over by the director’s passion and talent as a storyteller in relating his vision for \u003cem>Dune\u003c/em>. The sum total of their adulation depicts the \u003cem>Dune\u003c/em> pre-production as a kind of cult, with Jodorowsky as the prophet warrior king mesmerizing anyone who heard the sound of his voice.\u003c/p>\n\u003cp>Listening to him now, it’s hard not to fall into his thrall, even given the self-mythologizing, the obvious ego and a couple of profoundly unfortunate metaphors he employs—one comparing the creative process to rape, another the studio system to slavery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For those with any interest in cult cinema or just the bizarre behind-the-scenes stories of any film production, \u003cem>Jodorowsky’s Dune\u003c/em> is a fascinating document of one of the most legendary films ever not made. If its ambitions never quite match those of its subject, that can be excused; no one else’s vision could ever hope to equal the fevered, monumental dreams of Jodorowsky.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jodorowsky%27s+Dune%27%3A+The+Greatest+Film+That+Never+Was&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4WWu1kclNDA'\n title='//www.youtube.com/embed/4WWu1kclNDA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film begins by neatly summarizing Jodorowsky’s career through the ’60s and early ’70s, with particular focus on 1970’s \u003cem>El Topo\u003c/em> (cited as patient zero in the ’70s midnight movie trend) and 1973’s mind-bending \u003cem>The Holy Mountain\u003c/em>. The latter caught the attention of French producer Michel Seydoux, who essentially offered Jodorowsky carte blanche for his next project, and the director chose to adapt a book, \u003cem>Dune\u003c/em>, that was widely regarded as unfilmable.\u003c/p>\n\u003cp>Once the two of them get together, Pavich progresses methodically through Jodorowsky’s pre-production process, including the recruitment of those “spiritual warriors”: special-effects technician Dan O’Bannon, designers Jean Giraud (known by the pseudonym Mœbius) and H.R. Giger, Pink Floyd, and actors including Orson Welles, Mick Jagger, and in one of the movie’s most hilarious stories, Salvador Dali. The latter is recruited mainly by tricking him into thinking he’ll be receiving the highest salary ever paid an actor. Essentially, Jodorowsky was going after outsized creative personas just as mad as he was.\u003c/p>\n\u003cp>The parts of the movie focusing on the design are some of the strongest, as Pavich gets full access to the staggering number of sketches and storyboards that were assembled—which Seydoux and Jodorowsky bound in massive coffee-table tomes to distribute to studios in the (eventually dashed) hopes they’d back the actual production. Pavich animates many of these, giving us the closest thing to an actual look at what Jodorowsky’s version of \u003cem>Dune\u003c/em> might have looked like.\u003c/p>\n\u003cp>This is not a documentary about a failed movie in the same way that \u003cem>Lost in La Mancha\u003c/em> told the story of Terry Gilliam’s scuttled Don Quixote adaptation. That film included massive amounts of on-set footage before that production was shut down, and nothing like that is available here. As a result, Pavich must mostly rely on a talking-head format augmented by those animations. Lucky for him, his primary talking head is Jodorowsky himself, as lively and frenzied as a hyperactive 12-year-old despite now being well into his 80s.\u003c/p>\n\u003cp>Many of his recruits, interviewed here, tell of being won over by the director’s passion and talent as a storyteller in relating his vision for \u003cem>Dune\u003c/em>. The sum total of their adulation depicts the \u003cem>Dune\u003c/em> pre-production as a kind of cult, with Jodorowsky as the prophet warrior king mesmerizing anyone who heard the sound of his voice.\u003c/p>\n\u003cp>Listening to him now, it’s hard not to fall into his thrall, even given the self-mythologizing, the obvious ego and a couple of profoundly unfortunate metaphors he employs—one comparing the creative process to rape, another the studio system to slavery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For those with any interest in cult cinema or just the bizarre behind-the-scenes stories of any film production, \u003cem>Jodorowsky’s Dune\u003c/em> is a fascinating document of one of the most legendary films ever not made. If its ambitions never quite match those of its subject, that can be excused; no one else’s vision could ever hope to equal the fevered, monumental dreams of Jodorowsky.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jodorowsky%27s+Dune%27%3A+The+Greatest+Film+That+Never+Was&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"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. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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?",
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"on-the-media": {
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"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",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"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.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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},
"politicalbreakdown": {
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"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",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
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