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"content": "\u003cp>Some things are just better outdoors. Food, for one: why else would so many otherwise sane people choose to endure traffic fumes and jostling pedestrians while dining at sidewalk tables outside restaurants? Alcohol also gains something special from alfresco consumption (although it seems that our \u003ca href=\"http://missionmission.wordpress.com/2009/08/20/dolores-park-is-dead/\">local abstinence authorities\u003c/a> would prefer that we kept our beer drinking hidden away indoors). Even culture benefits from a little extra space now and then, as pale, sun-deprived performers of all kinds are dragged blinking and confused to play at outdoor festivals across the land. But in our age of 3D movie megaplexes and surround-sound high-definition nuclear-powered plasma screens at home, are we in danger of forgetting the simple joys of seeing a movie beneath a blanket of stars?\u003c/p>\n\u003cp>Thankfully, help is at hand and fresh-air filmgoing seems to be undergoing a mini revival in San Francisco. Two annual programs (\u003ca href=\"http://www.doloresparkmovie.org/\">Dolores Park Movie Night\u003c/a> and \u003ca href=\"http://www.sfneighborhoodtheater.org/events09.htm\">Film Night in the Park\u003c/a>) have already blazed a trail, and now these established screeners are being joined by an unlikely new champion of non-movie-theater big-screen movies: the \u003ca href=\"http://www.sfbike.org/\">San Francisco Bicycle Coalition\u003c/a>. Not content with harrassing city officials into building a labyrinth of bike lanes around town that will eventually form a picture of \u003ca href=\"http://en.wikipedia.org/wiki/Greg_LeMond\">Greg LeMond\u003c/a>‘s face visible only from space, the SFBC has also been busy organizing a series of free Bike-in Movie Nights in a SOMA hotel parking lot.\u003c/p>\n\u003cp>Sure, the pedal pushers’ most recent cinematic offerings — cult BMX movie \u003ca href=\"http://us.imdb.com/title/tt0091817/\">\u003cb>Rad\u003c/b>\u003c/a> and mountainbike documentary \u003ca href=\"http://us.imdb.com/title/tt0907856/\">\u003cb>Klunkerz\u003c/b>\u003c/a> — were always going to have limited appeal outside the organization’s membership of enthusiasts, but the next screening promises to change that. Animated French flick \u003ca href=\"http://www.lestriplettesdebelleville.com/\">\u003cb>Les Triplettes de Belleville\u003c/b>\u003c/a> isn’t just a great cycling movie, but very likely the greatest cycling movie of all time (even if \u003ca href=\"http://i42.photobucket.com/albums/e328/hindu_ninja/american_flyers_1985_685x385.jpg\">Kevin Costner’s mustache\u003c/a> and \u003ca href=\"http://www.horrorphile.net/images/bmx-bandits-nicole-kidman1.jpg\">Nicole Kidman’s perm\u003c/a> may disagree). It depicts all the excitement and intrigue of the legendary Tour de France through a hallucinatory mixture of exaggerated perspective, mafia kidnappings, and old-timey song-and-dance numbers.\u003c/p>\n\u003cp>It’s also a wonderful movie for an outdoor screening. Some may worry about struggling to watch a foreign language film being projected onto the side of a building (after all, those subtitles aren’t easy to read at the best of times), but handily \u003cb>Belleville\u003c/b> has virtually no dialogue. The narrative is driven by rich, flowing visuals and music; in fact, with its retro style and washed-out color palate, it’s not hard to imagine it as an old-fashioned silent movie. Lengthy Tarantino-esque monologues aside, however, it is a movie that has everything: good guys, bad guys, French guys, heroic grannies, and even a sleuthing pooch called Bruno.\u003c/p>\n\u003cp>My only reservation about the whole event is that it is being co-hosted by a group calling itself \u003ca href=\"http://sftweed.com/20090810-tweeds-of-belleville-sept-16th/\">San Francisco Tweed\u003c/a>. Very little is known about this shady organization other than its members’ strange predilection for wearing scratchy woolens while cycling, but that alone marks them out as a bunch of depraved deviants. Hopefully the large supporting cast of street-food vendors also promising to make an appearance at the screening will help keep everyone filled up with warming outdoor food, reducing the probability of having to cuddle up to a rough-coated stranger for warmth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Les Triplettes des Belleville\u003c/b> will be shown in the parking lot across from the Good Hotel, 112 Seventh Street, San Francisco at 8pm on September 16, 2009. Admission is free, and bike parking will be provided. For more information, visit \u003ca href=\"http://www.sfbike.org/?chain\">sfbike.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cp>Still wondering what ordinary, educated middle class people do with themselves after college? Writer-director Andrew Bujalski (\u003cb>Funny Ha Ha\u003c/b>, \u003cb>Mutual Appreciation\u003c/b>) has made another bewitching and potentially infuriating understatement on that subject, called \u003cb>Beeswax\u003c/b>.\u003c/p>\n\u003cp>Although resolutely documentarian in demeanor, Bujalski’s new film is meticulously scripted and, albeit mysteriously, directed; it strives for the sort of authentic, shambling naturalism that conceals any evidence of its own striving. Accordingly, it will be divisive.\u003c/p>\n\u003cp>Jeannie (Tilly Hatcher) runs a vintage boutique in Austin, where tension with her friend and business partner, Amanda (Anne Dodge), has turned litigious. It may or may not help that Jeannie’s ex, Merrill (Alex Karpovsky), is a law student. And it may or may not help that Jeannie’s twin, Lauren (Maggie Hatcher, now an ER doctor in the Bay Area), drifts through the loose orbit of her sister’s world, modeling the store’s clothes for ads, meandering between jobs and men, and mulling over a possible trip to Kenya.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Female characters such as these seem unprecedented in movies, yet unfailingly true to life. The movie is a mosaic of their mutual hesitations. Let the debate, about whether it actually works, begin.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>On the one hand: It’s too easy to call it mumblecore. On the other: It’s too hard to think of anything else to call it.\u003c/p>\n\u003cp>On the one hand: This sure isn’t the usual high-concept Hollywood hokum; it’s not at all theatrical. On the other: There is no concept; it’s not at all theatrical.\u003c/p>\n\u003cp>On the one hand: Bujalski’s way of withholding expected dramatic conventions can be invigorating. On the other: It can also be coy and craven.\u003c/p>\n\u003cp>On the one hand: Understated conflict allows for character study. On the other: Passive aggression isn’t necessarily the most entertaining form of understated conflict.\u003c/p>\n\u003cp>On the one hand: Bujalski’s DIY vibe is appealing and inspiring. On the other: It’s also rather clubby — all the men in the movie are played by fellow Austin-area indie filmmakers — and alienating.\u003c/p>\n\u003cp>On the one hand: Why \u003ci>shouldn’t\u003c/i> a film be rendered as a closely observed portrait of average American lives? On the other: These lives are not exactly average.\u003c/p>\n\u003cp>One the one hand: The Hatcher sisters are terrific muses. On the other: They are not professional actors.\u003c/p>\n\u003cp>On the one hand: It might make you think, “These people are just like me and people I know.” On the other: It might also make you think, “Wow, we’re pretty annoying sometimes.”\u003c/p>\n\u003cp>So this is the sound of one hand clapping.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Beeswax\u003c/b> opens Friday, September 11, at Landmark’s Lumiere Theatre in San Francisco and Shattuck Cinema in Berkeley, with stars Tilly & Maggie Hatcher in person at the Shattuck on Friday, September 11, at 7 p.m. and 9:25 p.m., and at the Lumiere on Saturday, September 12, at 7:10 p.m. and 9:35 p.m. For \u003ca href=\"http://www.landmarktheatres.com\">tickets and information\u003c/a>, visit landmarktheatres.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>On the one hand: It’s too easy to call it mumblecore. On the other: It’s too hard to think of anything else to call it.\u003c/p>\n\u003cp>On the one hand: This sure isn’t the usual high-concept Hollywood hokum; it’s not at all theatrical. On the other: There is no concept; it’s not at all theatrical.\u003c/p>\n\u003cp>On the one hand: Bujalski’s way of withholding expected dramatic conventions can be invigorating. On the other: It can also be coy and craven.\u003c/p>\n\u003cp>On the one hand: Understated conflict allows for character study. On the other: Passive aggression isn’t necessarily the most entertaining form of understated conflict.\u003c/p>\n\u003cp>On the one hand: Bujalski’s DIY vibe is appealing and inspiring. On the other: It’s also rather clubby — all the men in the movie are played by fellow Austin-area indie filmmakers — and alienating.\u003c/p>\n\u003cp>On the one hand: Why \u003ci>shouldn’t\u003c/i> a film be rendered as a closely observed portrait of average American lives? On the other: These lives are not exactly average.\u003c/p>\n\u003cp>One the one hand: The Hatcher sisters are terrific muses. On the other: They are not professional actors.\u003c/p>\n\u003cp>On the one hand: It might make you think, “These people are just like me and people I know.” On the other: It might also make you think, “Wow, we’re pretty annoying sometimes.”\u003c/p>\n\u003cp>So this is the sound of one hand clapping.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Beeswax\u003c/b> opens Friday, September 11, at Landmark’s Lumiere Theatre in San Francisco and Shattuck Cinema in Berkeley, with stars Tilly & Maggie Hatcher in person at the Shattuck on Friday, September 11, at 7 p.m. and 9:25 p.m., and at the Lumiere on Saturday, September 12, at 7:10 p.m. and 9:35 p.m. For \u003ca href=\"http://www.landmarktheatres.com\">tickets and information\u003c/a>, visit landmarktheatres.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Classic literature brims with unrequited love, back-stabbing, melodrama and showy suicides, all of which seamlessly lends itself to the halls of high school, where teenagers gather to act out their crazy mood swings and exaggerated rebellion. Filmmakers have realized this connection over the years, bringing us such films as \u003cb>10 Things I Hate About You\u003c/b> (a ’90s remix of the Bard’s \u003cb>The Taming of the Shrew\u003c/b>) and \u003cb>Clueless\u003c/b> (which took Jane Austen’s Emma out of her stuffy English home and into a totally raging house party in the Valley).\u003c/p>\n\u003cp>The latest director to take on a celluloid redux is Christophe Honoré: his new film, \u003cb>The Beautiful Person\u003c/b> (“La Belle Personne” en français) is a retelling of Madame de Lafayette’s 1678 novel \u003cb>La Princesse de Clèves\u003c/b>, a required reading staple in French classrooms that involves an aristocratic love triangle (what else) between a young woman, her husband who truly loves her, and the dude she loves instead. While the novel’s general blueprint remains intact in \u003cb>The Beautiful Person\u003c/b>, the setting has been moved from the 17th-century French courts to a modern day Parisian high school courtyard.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/la-belle-2.jpg\">\u003c/p>\n\u003cp>Junie, played by the bewitching Léa Seydoux, is the new girl at school. She has a killer bod and is instantly popular with a set of drooling boys. Her cousin, Mathias, introduces her to an oversexed crowd of cool kids and Junie quickly pairs up with the crew’s most emo member, Otto, who proclaims undying love on the spot. Junie plays along, but only feels a true spark when she meets Nemours, her Italian teacher played by the lion-maned Louis Garrel. Luckily for her, he’s a total nymphomaniac who has no qualms mixing business with pleasure (upon first meeting Junie, he is not only having an affair with a fellow teacher but also one of his pupils). Junie pouts as she plays hard to get. Nemours pouts as he gives chase. Otto the boyfriend pouts and then jumps off a railing. More pouting around the dead body. A brief and very random interlude involving a gay love triangle that culminates in a scissor fight! Then, back to the pouting.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/la-belle-1.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All of this sounds almost farcical, like a parody of teenage angst and overblown emotion, but Honoré treats his subject matter with the utmost seriousness. The only hopeful glimmer that the film might stray from its dour treatment is when a character randomly bursts into a musical number, but the song turns out to be quite the maudlin affair. The trouble with allowing these scenarios such gravity is that most of us have been to high school and graduated with the knowledge that all the end-of-the-world dramatics never truly mattered and were just distractions from a four-year stretch of boredom. So how is one supposed to care about such trivial matters without even a dash of dark humor or playfulness?\u003c/p>\n\u003cp>For most of the film, the characters stare listlessly out of windows at the grey sky, sick with ennui. Even Paris, a city usually bursting with life and beauty, looks drab through this lens. All the malaise eventually rubs off on the viewer, creating a void of disinterest: the characters don’t care to carry on living and we don’t care to watch them try.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Beautiful Person\u003c/b> plays from September 4 through September 10, 2009 on the \u003ca href=\"http://www.sffs.org/screenings-and-events/sffs-screen.aspx\" target=\"offsite\" rel=\"noopener\">San Francisco Film Society\u003c/a> screen at the Sundance Kabuki Cinemas in SF. For \u003ca href=\"http://sundancecinemas.com/kabuki.html\" target=\"offsite\" rel=\"noopener\">tickets and more information\u003c/a>, visit sundancecinemas.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Classic literature brims with unrequited love, back-stabbing, melodrama and showy suicides, all of which seamlessly lends itself to the halls of high school, where teenagers gather to act out their crazy mood swings and exaggerated rebellion. Filmmakers have realized this connection over the years, bringing us such films as \u003cb>10 Things I Hate About You\u003c/b> (a ’90s remix of the Bard’s \u003cb>The Taming of the Shrew\u003c/b>) and \u003cb>Clueless\u003c/b> (which took Jane Austen’s Emma out of her stuffy English home and into a totally raging house party in the Valley).\u003c/p>\n\u003cp>The latest director to take on a celluloid redux is Christophe Honoré: his new film, \u003cb>The Beautiful Person\u003c/b> (“La Belle Personne” en français) is a retelling of Madame de Lafayette’s 1678 novel \u003cb>La Princesse de Clèves\u003c/b>, a required reading staple in French classrooms that involves an aristocratic love triangle (what else) between a young woman, her husband who truly loves her, and the dude she loves instead. While the novel’s general blueprint remains intact in \u003cb>The Beautiful Person\u003c/b>, the setting has been moved from the 17th-century French courts to a modern day Parisian high school courtyard.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/la-belle-2.jpg\">\u003c/p>\n\u003cp>Junie, played by the bewitching Léa Seydoux, is the new girl at school. She has a killer bod and is instantly popular with a set of drooling boys. Her cousin, Mathias, introduces her to an oversexed crowd of cool kids and Junie quickly pairs up with the crew’s most emo member, Otto, who proclaims undying love on the spot. Junie plays along, but only feels a true spark when she meets Nemours, her Italian teacher played by the lion-maned Louis Garrel. Luckily for her, he’s a total nymphomaniac who has no qualms mixing business with pleasure (upon first meeting Junie, he is not only having an affair with a fellow teacher but also one of his pupils). Junie pouts as she plays hard to get. Nemours pouts as he gives chase. Otto the boyfriend pouts and then jumps off a railing. More pouting around the dead body. A brief and very random interlude involving a gay love triangle that culminates in a scissor fight! Then, back to the pouting.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/la-belle-1.jpg\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of this sounds almost farcical, like a parody of teenage angst and overblown emotion, but Honoré treats his subject matter with the utmost seriousness. The only hopeful glimmer that the film might stray from its dour treatment is when a character randomly bursts into a musical number, but the song turns out to be quite the maudlin affair. The trouble with allowing these scenarios such gravity is that most of us have been to high school and graduated with the knowledge that all the end-of-the-world dramatics never truly mattered and were just distractions from a four-year stretch of boredom. So how is one supposed to care about such trivial matters without even a dash of dark humor or playfulness?\u003c/p>\n\u003cp>For most of the film, the characters stare listlessly out of windows at the grey sky, sick with ennui. Even Paris, a city usually bursting with life and beauty, looks drab through this lens. All the malaise eventually rubs off on the viewer, creating a void of disinterest: the characters don’t care to carry on living and we don’t care to watch them try.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Beautiful Person\u003c/b> plays from September 4 through September 10, 2009 on the \u003ca href=\"http://www.sffs.org/screenings-and-events/sffs-screen.aspx\" target=\"offsite\" rel=\"noopener\">San Francisco Film Society\u003c/a> screen at the Sundance Kabuki Cinemas in SF. For \u003ca href=\"http://sundancecinemas.com/kabuki.html\" target=\"offsite\" rel=\"noopener\">tickets and more information\u003c/a>, visit sundancecinemas.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Brief Glossary of British Crime",
"headTitle": "A Brief Glossary of British Crime | KQED",
"content": "\u003cp>Possibly the most brilliantly titled series in Pacific Film Archive history, \u003cb>Tea and Larceny: Classic British Crime Films\u003c/b> imports 15 peppy, charismatic movies full of mayhem, murder, betrayal, depravity and occasional references to language and customs that Americans may find unfamiliar.\u003c/p>\n\u003cp>Do not be daunted. It’s just like our noir, except more class-conscious, and instead of “flashlight” they say “torch.”\u003c/p>\n\u003cp>The milieu of these films is damp, dark and exceedingly polite, except when exceedingly impolite. To wit: the graciousness with which Robert Newton’s character addresses his wife’s American lover in \u003cb>Obsession\u003c/b> (1949), even while chaining the fellow to a wall and filling a bathtub with acid by which to dissolve his body. Or when Nigel Patrick’s character slaps Carole Landis’ around in \u003cb>Noose\u003c/b> (1948) and says, “Pardon my manners.”\u003c/p>\n\u003cp>British etiquette may at first befuddle American spectators. But the rules do tend to declare themselves. As \u003cb>No Orchids for Miss Blandish\u003c/b> (1948) suggests, the proper response to “You’ve been drinking, haven’t you?” is “I don’t have to drink to want you.” As \u003cb>Footsteps in the Fog\u003c/b> (1955) suggests, the proper action for a housemaid to take upon discovering that her employer has murdered his wife is to demand a promotion. The hair-pulling, dress-ripping girlfight (“I’ll teach you to call me a rotten fat cow!”) that erupts near the end of \u003cb>It Always Rains on Sunday\u003c/b> (1947) is a regrettable lapse, although not unfathomable given the tense situation — namely, harboring a former-lover fugitive.\u003c/p>\n\u003cp>In general it is wise to beware of amiable, pipe-smoking Scotland Yard superintendents.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And it is always useful to know the local lingo. To that end, here are ten terms and definitions intended to accelerate your acclimation.\u003c/p>\n\u003cp>\u003cb>And Bob’s your uncle?\u003c/b>: No one really knows what the hell this means, although it is often said to have arisen from the popular critique of an historic occasion of political nepotism. Usually used to cap off a given set of instructions, as an alternative to “there you have it” or “you’re all set.” Are you, though?\u003c/p>\n\u003cp>\u003cb>Biscuits\u003c/b>: cookies\u003c/p>\n\u003cp>\u003cb>Duckie\u003c/b> (also \u003cb>Ducks\u003c/b>): a term of endearment, although, in the context of British crime films, often used with irony and menace.\u003c/p>\n\u003cp>\u003cb>Knucksie\u003c/b>: a set of brass knuckles. Also, the nickname of black-marketeer Sugiani (Joseph Calleia) in \u003cb>Noose\u003c/b>, who enjoys using them on women.\u003c/p>\n\u003cp>\u003cb>Noose\u003c/b>: “That’s a rope, with a loop and a slip-knot,” as one guy says in \u003cb>Noose\u003c/b>. “Here’s to it,” says another, hoisting his tea.\u003c/p>\n\u003cp>\u003cb>Mucking about\u003c/b>: Idling, wasting time\u003c/p>\n\u003cp>\u003cb>Snorkel\u003c/b>: Standard scuba-diving equipment. Also, murder weapon (\u003cb>The Snorkel\u003c/b>, 1955).\u003c/p>\n\u003cp>\u003cb>Spiv\u003c/b>: An industrious petty criminal, often smartly dressed, sometimes with something to sell at a dubiously low price. Memorable examples include the perversely Catholic sociopath Pinkie Brown (Richard Attenborough) in \u003cb>Brighton Rock\u003c/b> (1947); the friendly neighborhood malefactor Bar Gorman (Nigel Patrick) in \u003cb>Noose\u003c/b>; the clammy hustler Harry Fabian (Richard Widmark) in \u003cb>Night and the City\u003c/b> (1950); various in \u003cb>It Always Rains on Sunday\u003c/b>. As film theorist Peter Wollen has explained, “The crucial difference between the spiv — a flashy black-marketeer — and the classic gangster was the degree of sympathy the spiv attracted among audiences weary of wartime and post-war shortages: black-marketeers may have been outside the law, but they performed an obvious public service.”\u003c/p>\n\u003cp>\u003cb>Take the can back\u003c/b>: To be reprimanded, take the rap\u003c/p>\n\u003cp>\u003cb>Torch\u003c/b>: flashlight\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Tea and Larceny: Classic British Crime Films\u003c/b> runs through October 31, 2009, at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://bampfa.berkeley.edu/filmseries/british_crime_films\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Possibly the most brilliantly titled series in Pacific Film Archive history, \u003cb>Tea and Larceny: Classic British Crime Films\u003c/b> imports 15 peppy, charismatic movies full of mayhem, murder, betrayal, depravity and occasional references to language and customs that Americans may find unfamiliar.\u003c/p>\n\u003cp>Do not be daunted. It’s just like our noir, except more class-conscious, and instead of “flashlight” they say “torch.”\u003c/p>\n\u003cp>The milieu of these films is damp, dark and exceedingly polite, except when exceedingly impolite. To wit: the graciousness with which Robert Newton’s character addresses his wife’s American lover in \u003cb>Obsession\u003c/b> (1949), even while chaining the fellow to a wall and filling a bathtub with acid by which to dissolve his body. Or when Nigel Patrick’s character slaps Carole Landis’ around in \u003cb>Noose\u003c/b> (1948) and says, “Pardon my manners.”\u003c/p>\n\u003cp>British etiquette may at first befuddle American spectators. But the rules do tend to declare themselves. As \u003cb>No Orchids for Miss Blandish\u003c/b> (1948) suggests, the proper response to “You’ve been drinking, haven’t you?” is “I don’t have to drink to want you.” As \u003cb>Footsteps in the Fog\u003c/b> (1955) suggests, the proper action for a housemaid to take upon discovering that her employer has murdered his wife is to demand a promotion. The hair-pulling, dress-ripping girlfight (“I’ll teach you to call me a rotten fat cow!”) that erupts near the end of \u003cb>It Always Rains on Sunday\u003c/b> (1947) is a regrettable lapse, although not unfathomable given the tense situation — namely, harboring a former-lover fugitive.\u003c/p>\n\u003cp>In general it is wise to beware of amiable, pipe-smoking Scotland Yard superintendents.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And it is always useful to know the local lingo. To that end, here are ten terms and definitions intended to accelerate your acclimation.\u003c/p>\n\u003cp>\u003cb>And Bob’s your uncle?\u003c/b>: No one really knows what the hell this means, although it is often said to have arisen from the popular critique of an historic occasion of political nepotism. Usually used to cap off a given set of instructions, as an alternative to “there you have it” or “you’re all set.” Are you, though?\u003c/p>\n\u003cp>\u003cb>Biscuits\u003c/b>: cookies\u003c/p>\n\u003cp>\u003cb>Duckie\u003c/b> (also \u003cb>Ducks\u003c/b>): a term of endearment, although, in the context of British crime films, often used with irony and menace.\u003c/p>\n\u003cp>\u003cb>Knucksie\u003c/b>: a set of brass knuckles. Also, the nickname of black-marketeer Sugiani (Joseph Calleia) in \u003cb>Noose\u003c/b>, who enjoys using them on women.\u003c/p>\n\u003cp>\u003cb>Noose\u003c/b>: “That’s a rope, with a loop and a slip-knot,” as one guy says in \u003cb>Noose\u003c/b>. “Here’s to it,” says another, hoisting his tea.\u003c/p>\n\u003cp>\u003cb>Mucking about\u003c/b>: Idling, wasting time\u003c/p>\n\u003cp>\u003cb>Snorkel\u003c/b>: Standard scuba-diving equipment. Also, murder weapon (\u003cb>The Snorkel\u003c/b>, 1955).\u003c/p>\n\u003cp>\u003cb>Spiv\u003c/b>: An industrious petty criminal, often smartly dressed, sometimes with something to sell at a dubiously low price. Memorable examples include the perversely Catholic sociopath Pinkie Brown (Richard Attenborough) in \u003cb>Brighton Rock\u003c/b> (1947); the friendly neighborhood malefactor Bar Gorman (Nigel Patrick) in \u003cb>Noose\u003c/b>; the clammy hustler Harry Fabian (Richard Widmark) in \u003cb>Night and the City\u003c/b> (1950); various in \u003cb>It Always Rains on Sunday\u003c/b>. As film theorist Peter Wollen has explained, “The crucial difference between the spiv — a flashy black-marketeer — and the classic gangster was the degree of sympathy the spiv attracted among audiences weary of wartime and post-war shortages: black-marketeers may have been outside the law, but they performed an obvious public service.”\u003c/p>\n\u003cp>\u003cb>Take the can back\u003c/b>: To be reprimanded, take the rap\u003c/p>\n\u003cp>\u003cb>Torch\u003c/b>: flashlight\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Tea and Larceny: Classic British Crime Films\u003c/b> runs through October 31, 2009, at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://bampfa.berkeley.edu/filmseries/british_crime_films\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Dark comedy, done properly, requires a scabrous view of human nature and a mordant affection for human fallibility. Bobcat Goldthwait is simply too nice for the job. The stand-up comedian-turned-filmmaker’s latest, \u003cb>World’s Greatest Dad\u003c/b>, has a softness at its center that leaves us with an unsatisfied appetite for blood.\u003c/p>\n\u003cp>Perhaps I should say “me” rather than “us.” It’s almost certain that I’m less enlightened than you, and more unfeeling. Surely you’ve never sat in a theater and agitatedly muttered to yourself in the dark, “Kill that character already! Quit stalling! We know he’s going to die. Get on with it, and get on with the story!” Oh, you have? Then you’ll understand that when Goldthwait finally pulls the plug, so to speak, in \u003cb>World’s Greatest Dad\u003c/b>, the movie kicks into another gear.\u003c/p>\n\u003cp>\u003cb>Dad\u003c/b> is a mildly twisted spin on the clichéd high school movie where a decent but nerdy kid stands and delivers, or matures through trial by bully, and learns to be his or her own person. In this case, the dweeb is an adult, a teacher, who achieves his freedom by finally destroying his unfulfilled and unfulfilling urge to win the respect and affection of others.\u003c/p>\n\u003cp>Robin Williams plays a single father with an insufferable teenage son. Both go to the same high school, where Lance teaches poetry (his only class, apparently and improbably) and the loutish, cloddish Kyle (played by Daryl Sabara) is content to alienate everyone except a lone bewildered friend. Lance is working on his fifth unpublished novel, with the only bright spot in his life a secret, mostly sexual (her choice, as he’d prefer something deeper) relationship with a younger, fake-bubbly teacher (Alexie Gilmore, channeling Teri Garr circa 1983).\u003c/p>\n\u003cp>Lance lives a life of endless put downs and quiet desperation, which means Williams walks through the movie in pinched, hangdog mode. The character is neither a rebel nor a non-conformist, but neither is he fully numbed to the dreadful hollowness of his life. When a door opens for him, he still has enough imagination to stick his foot in the opening.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This brings us to the death that nudges \u003cb>World’s Greatest Dad\u003c/b> from sitcom to satire. It’s foreshadowed in a very early scene, when Lance walks in on Kyle watching computer porn and engaged in auto-erotic asphyxiation. We wait and wait and wait for half the movie before Kyle finally, um, goes too far, removing his annoying personality from the scene and clearing the way for Lance’s fateful decision to frame the freaky, humiliating accident as a poignant suicide. (There’s no way Goldthwait could have anticipated David Carradine’s death, which was freaky but not humiliating.)\u003c/p>\n\u003cp>The director reveals his aversion to going for the jugular in the immediate aftermath of Kyle’s demise. Instead of Lance’s wracking sobs, he places a pop song on the soundtrack, dampening our reaction to Lance’s response to finding his son’s body. It feels like an ironic touch, initially, but in retrospect I think it’s sincere. Goldthwait doesn’t want us to hurt too badly.\u003c/p>\n\u003cp>The movie does a good job of parodying the shopworn convention that death redeems the irredeemable, and allows for even the most egregious behavior to be forgiven. (It helps that Lance prints the legend, literally, not the facts.) It also plays at times like a send-up of an after-school special, albeit one rated R for language, crude and sexual content, some drug use, and disturbing images. It’s a measure of how lightweight the movie is, though, that Kyle doesn’t hover over the proceedings — he’s gone and we’re glad. Not (just) because he’s a schmuck, but because he was a boring, self-centered schmuck.\u003c/p>\n\u003cp>Lance is a good deal more engaging, primarily because we’re curious to see how big and dramatic his transformation is going to be. Alas, it’s pretty modulated, and combined with an unimaginative parade of flat, primary-color compositions, the overall effect is small-scale. The film’s central questions — What is success? What’s the price of success? How does one stop settling and start choosing? — deserve a pulpier, juicier setting than Goldthwait affords them.\u003c/p>\n\u003cp>It’s patently unfair to critique Bobcat Goldthwait for lacking the ferocious cruelty of Luis Bunuel (\u003cb>The Discreet Charm of the Bourgeoisie\u003c/b>) or the take-no-prisoners irreverence of Stanley Kubrick (\u003cb>Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\u003c/b>). But he should know that it’s not enough to point to the jugular. You’ve got to plant your claws and let ’em rip.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>World’s Greatest Dad\u003c/b> opens Friday, Aug. 28, 2009 at the Bridge in San Francisco and the Albany in the East Bay.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This brings us to the death that nudges \u003cb>World’s Greatest Dad\u003c/b> from sitcom to satire. It’s foreshadowed in a very early scene, when Lance walks in on Kyle watching computer porn and engaged in auto-erotic asphyxiation. We wait and wait and wait for half the movie before Kyle finally, um, goes too far, removing his annoying personality from the scene and clearing the way for Lance’s fateful decision to frame the freaky, humiliating accident as a poignant suicide. (There’s no way Goldthwait could have anticipated David Carradine’s death, which was freaky but not humiliating.)\u003c/p>\n\u003cp>The director reveals his aversion to going for the jugular in the immediate aftermath of Kyle’s demise. Instead of Lance’s wracking sobs, he places a pop song on the soundtrack, dampening our reaction to Lance’s response to finding his son’s body. It feels like an ironic touch, initially, but in retrospect I think it’s sincere. Goldthwait doesn’t want us to hurt too badly.\u003c/p>\n\u003cp>The movie does a good job of parodying the shopworn convention that death redeems the irredeemable, and allows for even the most egregious behavior to be forgiven. (It helps that Lance prints the legend, literally, not the facts.) It also plays at times like a send-up of an after-school special, albeit one rated R for language, crude and sexual content, some drug use, and disturbing images. It’s a measure of how lightweight the movie is, though, that Kyle doesn’t hover over the proceedings — he’s gone and we’re glad. Not (just) because he’s a schmuck, but because he was a boring, self-centered schmuck.\u003c/p>\n\u003cp>Lance is a good deal more engaging, primarily because we’re curious to see how big and dramatic his transformation is going to be. Alas, it’s pretty modulated, and combined with an unimaginative parade of flat, primary-color compositions, the overall effect is small-scale. The film’s central questions — What is success? What’s the price of success? How does one stop settling and start choosing? — deserve a pulpier, juicier setting than Goldthwait affords them.\u003c/p>\n\u003cp>It’s patently unfair to critique Bobcat Goldthwait for lacking the ferocious cruelty of Luis Bunuel (\u003cb>The Discreet Charm of the Bourgeoisie\u003c/b>) or the take-no-prisoners irreverence of Stanley Kubrick (\u003cb>Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\u003c/b>). But he should know that it’s not enough to point to the jugular. You’ve got to plant your claws and let ’em rip.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>World’s Greatest Dad\u003c/b> opens Friday, Aug. 28, 2009 at the Bridge in San Francisco and the Albany in the East Bay.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Not long ago, Nina Paley and her husband lived in San Francisco, where she worked as a cartoonist and animator. Then he got a job in India, and she moved with him there. This afforded Paley an opportunity to read the \u003cb>Ramayana\u003c/b>, an ancient epic about the goddess Sita’s highly taxing separation from her husband, Rama.\u003c/p>\n\u003cp>Then Paley returned to the States for a brief business trip. This afforded her an opportunity to be dumped by her husband via email.\u003c/p>\n\u003cp>Less long ago, Paley gathered three good-humored friends of Indian ancestry in a recording studio and let them gab for a while about their recollections of the \u003cb>Ramayana\u003c/b>. This afforded Paley an opportunity to animate her friends’ hilariously improvised account of the epic into the narrative framework for her brilliant and bewitching feature debut, \u003cb>Sita Sings the Blues\u003c/b>.\u003c/p>\n\u003cp>More specifically, Sita sings a few spicy ’20s torch songs by \u003ca href=\"http://www.redhotjazz.com/hanshaw.html\">Annette Hanshaw\u003c/a>, while her strange and poignant and sometimes funny story of separation plays out against Paley’s own. There are monkey armies, flying eyeballs, dancing gods and breaking hearts.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=7y5_zJ1xfQs&hl=en&fs=1&]\u003c/p>\n\u003cp>Thanks to Paley’s apparently unlimited visual imagination, each thread gets its own distinct style, and the braid is beautiful. In her capable hands, animation becomes both an immensely sophisticated mode of motion-picture storytelling and a marvel of the childlike cartoon fun we all remember and understand. It’s exactly the right medium for combining myth, dream, cultural memory, autobiography and the rituals of romance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Sita Sings the Blues\u003c/b> is \u003ca href=\"http://www.sitasingstheblues.com/watch.html\">publicly available for free online\u003c/a>, but the best way to see it, as its website suggests and anyone who caught it at the Red Vic last week surely will confirm, is “on a big screen, in a dark room, with other people!”\u003c/p>\n\u003cp>\u003c/p>\u003cp>Happily, such amenities will again be available this Wednesday and Thursday evenings at the Smith Rafael Film Center. This affords you an opportunity.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>Sita Sings the Blues\u003c/b> plays Wednesday and Thursday, August 26 & 27, 2009 at the Smith Rafael Film Center in San Rafael. For \u003ca href=\"http://www.cafilm.org\">tickets and information\u003c/a>, visit cafilm.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Sita Sings the Blues\u003c/b> is \u003ca href=\"http://www.sitasingstheblues.com/watch.html\">publicly available for free online\u003c/a>, but the best way to see it, as its website suggests and anyone who caught it at the Red Vic last week surely will confirm, is “on a big screen, in a dark room, with other people!”\u003c/p>\n\u003cp>\u003c/p>\u003cp>Happily, such amenities will again be available this Wednesday and Thursday evenings at the Smith Rafael Film Center. This affords you an opportunity.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>Sita Sings the Blues\u003c/b> plays Wednesday and Thursday, August 26 & 27, 2009 at the Smith Rafael Film Center in San Rafael. For \u003ca href=\"http://www.cafilm.org\">tickets and information\u003c/a>, visit cafilm.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the annals of moviemaking catastrophe — from \u003cb>Apocalypse Now\u003c/b> to \u003cb>Cleopatra\u003c/b>, \u003cb>Heaven’s Gate\u003c/b> to \u003cb>Waterworld\u003c/b> — perhaps no famously troubled production has been more copiously documented than Werner Herzog’s \u003cb>Fitzcarraldo\u003c/b>.\u003c/p>\n\u003cp>Maybe it’s because, in that case, the making-of really is more interesting than the movie itself. Or maybe it’s because they tell the same story. \u003cb>Fitzcarraldo\u003c/b> is a tale of one man’s nearly ruinous obsession with bringing opera to the Amazon jungle. Its backstory is a tale of one man’s nearly ruinous obsession with the first man’s obsession. So the annotation of Herzog’s 1982 movie, much of it from the filmmaker himself, just seems to flow like a — well, like a great, majestically indifferent tropical river.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"425\" height=\"344\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/F53yUsgVuL0&hl=en&fs=1&\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/F53yUsgVuL0&hl=en&fs=1&\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"425\" height=\"344\">\u003c/embed>\u003c/object>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>You’ll find it in Herzog’s commentary on the \u003cb>Fitzcarraldo\u003c/b> DVD. And in his 1999 documentary \u003cb>My Best Fiend\u003c/b>, about his nutso leading man and nemesis Klaus Kinski. You’ll find a lot of it in Bay Area filmmakers Les Blank and Maureen Gosling’s exceptional documentary, \u003cb>Burden of Dreams\u003c/b>, whose Criterion Collection DVD edition even comes with a book gathering Blank and Gosling’s journals from their experience of Herzog’s production. And now you can read the maestro’s own journal of the event, \u003cb>Conquest of the Useless: Reflections from the Making of \u003ci>Fitzcarraldo\u003c/i>\u003c/b>, originally published in 2004 and newly available in English from Ecco Press.\u003c/p>\n\u003cp>In his preface, Herzog writes: “These texts are not reports on the actual filming — of which little is said. Nor are they journals, except in a very general sense. They might be described instead as inner landscapes, born of the delirium of the jungle. But even that may not be entirely accurate — I am not sure.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"425\" height=\"344\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/3xQyQnXrLb0&hl=en&fs=1&\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/3xQyQnXrLb0&hl=en&fs=1&\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"425\" height=\"344\">\u003c/embed>\u003c/object>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Uh, OK. And after 306 pages, he doesn’t seem much surer. Could anyone else get away with this? The book covers a very dreamlike two and a half years, through which Herzog remains mesmerized by his own restless tenacity. Only the most committed readers will do likewise, of course, but that’s exactly how the empathy of obsession is supposed to work.\u003c/p>\n\u003cp>Herzog’s narrating voice is an acquired taste. (Here’s his entry from July 20, 1979, in its entirety: “San Francisco. Emptiness.”) But you already knew that. The real fun to be had with \u003cb>Conquest of the Useless\u003c/b> is in the cross-referencing. Blank’s account of April 12, 1981, for instance, begins with instant coffee and vultures perched on a hotel roof. Herzog’s begins with a drowned workman and whiskey and card games. Consensus: Doom is in the air. Those of us who remember Herzog’s comments on the obscenity and “overwhelming misery” of the jungle in Blank’s film, or his assertion that “I love it against my better judgement,” at last can have this clarification, of sorts, from April 14, 1981: “The Grand Emotions in opera, often dismissed as over the top, strike me on the contrary as the most concentrated, pure archetypes of emotion, whose essence is incapable of being condensed any further. They are axioms of emotion. That is what opera and the jungle have in common.” The next day, according to Blank’s account, “He expressed his intention to end his life if he failed to complete the filming.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rest assured, Herzog did complete the filming, and apparently has yet to complete processing the experience. Maybe he never will.\u003c/p>\n\n",
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"content": "\u003cp>A disquieting movie examining the malleable nature of morality during World War II opens today. No, it’s not directed by some dude named Tarantino. You’re kidding, right?\u003c/p>\n\u003cp>\u003cb>Flame & Citron\u003c/b> spans a fateful year in the lives of two real-life members of the Danish Resistance, the fearless young Bent Faurschou-Hviid (nicknamed Flame, on account of his red hair) and his grizzled wheelman Jorgen Haagen Schmith, aka Citron. They are immortalized by their countrymen, yet director Ole Christian Madsen deliberately prints the fact rather than the legend. His approach reveals the duo to be patriots but not heroes, which is another way of saying that it’s about the end of innocence — theirs and ours.\u003c/p>\n\u003cp>Innocent might seem like an odd way to describe cool, calm assassins certain of the righteousness of their mission(s). \u003cb>Flame & Citron\u003c/b> is about the price one pays to embrace a cause, and it’s not (just) one’s life: Citron (the stalwart Mads Mikkelsen, whom we don’t expect to see in a supporting role), noirish in his fedora, unshaven and bleary-eyed, gradually loses his family as he’s consumed by the crusade to eliminate collaborators with the occupying Nazis. Meanwhile, the ruthlessly efficient Flame (the charismatic Thure Lindhardt) develops crippling doubts as he finds himself played, used, spun and betrayed by those he admires and trusts.\u003c/p>\n\u003cp>We still like to think of World War II as the good war, with a clear-cut fascist enemy that had to be defeated. The further we get from that period, however, movies about the war tend to be increasingly nuanced and complex. Black-and-white turns out to have myriad shades of gray, and lesser human impulses have a corrosive, overriding effect on idealism.\u003c/p>\n\u003cp>This seems like a good spot to mention \u003cb>Inglourious Basterds\u003c/b>, also set during the brutal heyday of the Third Reich. No one can match Tarantino when it comes to creating charming lowlifes, and he’s such a terrific writer of dialogue that he distracts us (at least until the jokey final sequence) from noticing that \u003cb>Basterds\u003c/b> is just another of his exercises in nihilistic playacting. It has nothing to say about war, any war, or the men and women caught up in it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Admittedly, for all the grit and dirt that \u003cb>Flame & Citron\u003c/b> stirs up, it delivers a smooth, polished ride. I was expecting more of a documentary-style approach and less in the way of production values. In fact, Madsen is so enamored of a few of his set pieces — such as a daylight plot to assassinate the head of the Gestapo in a restaurant — that he lets the substance of the scene be overshadowed by the staging and style.\u003c/p>\n\u003cp>Even as he makes one concession after another to moviegoers seeking entertainment, Madsen continually challenges the viewer to consider what he or she would have done with the same narrow margin afforded his protagonists. \u003cb>Flame & Citron\u003c/b> doesn’t aim to rewrite or devalue the history of the Resistance in Denmark, but to portray how hard it is to see in the shadows, to trust sources and information, to maintain allegiances when cohorts are jockeying for postwar position.\u003c/p>\n\u003cp>Underneath the historical context, and the period clothes and cars, \u003cb>Flame & Citron\u003c/b> is a cautionary, timeless tale of the young soldier who’s surrendered to a just cause, and is therefore easily manipulated and used. A patriot, in other words, but not necessarily a hero.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Flame & Citron\u003c/b> opens Friday, August 21, 2009 at the Clay Theatre in San Francisco and the Elmwood Theatre in Berkeley.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A disquieting movie examining the malleable nature of morality during World War II opens today. No, it’s not directed by some dude named Tarantino. You’re kidding, right?\u003c/p>\n\u003cp>\u003cb>Flame & Citron\u003c/b> spans a fateful year in the lives of two real-life members of the Danish Resistance, the fearless young Bent Faurschou-Hviid (nicknamed Flame, on account of his red hair) and his grizzled wheelman Jorgen Haagen Schmith, aka Citron. They are immortalized by their countrymen, yet director Ole Christian Madsen deliberately prints the fact rather than the legend. His approach reveals the duo to be patriots but not heroes, which is another way of saying that it’s about the end of innocence — theirs and ours.\u003c/p>\n\u003cp>Innocent might seem like an odd way to describe cool, calm assassins certain of the righteousness of their mission(s). \u003cb>Flame & Citron\u003c/b> is about the price one pays to embrace a cause, and it’s not (just) one’s life: Citron (the stalwart Mads Mikkelsen, whom we don’t expect to see in a supporting role), noirish in his fedora, unshaven and bleary-eyed, gradually loses his family as he’s consumed by the crusade to eliminate collaborators with the occupying Nazis. Meanwhile, the ruthlessly efficient Flame (the charismatic Thure Lindhardt) develops crippling doubts as he finds himself played, used, spun and betrayed by those he admires and trusts.\u003c/p>\n\u003cp>We still like to think of World War II as the good war, with a clear-cut fascist enemy that had to be defeated. The further we get from that period, however, movies about the war tend to be increasingly nuanced and complex. Black-and-white turns out to have myriad shades of gray, and lesser human impulses have a corrosive, overriding effect on idealism.\u003c/p>\n\u003cp>This seems like a good spot to mention \u003cb>Inglourious Basterds\u003c/b>, also set during the brutal heyday of the Third Reich. No one can match Tarantino when it comes to creating charming lowlifes, and he’s such a terrific writer of dialogue that he distracts us (at least until the jokey final sequence) from noticing that \u003cb>Basterds\u003c/b> is just another of his exercises in nihilistic playacting. It has nothing to say about war, any war, or the men and women caught up in it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Admittedly, for all the grit and dirt that \u003cb>Flame & Citron\u003c/b> stirs up, it delivers a smooth, polished ride. I was expecting more of a documentary-style approach and less in the way of production values. In fact, Madsen is so enamored of a few of his set pieces — such as a daylight plot to assassinate the head of the Gestapo in a restaurant — that he lets the substance of the scene be overshadowed by the staging and style.\u003c/p>\n\u003cp>Even as he makes one concession after another to moviegoers seeking entertainment, Madsen continually challenges the viewer to consider what he or she would have done with the same narrow margin afforded his protagonists. \u003cb>Flame & Citron\u003c/b> doesn’t aim to rewrite or devalue the history of the Resistance in Denmark, but to portray how hard it is to see in the shadows, to trust sources and information, to maintain allegiances when cohorts are jockeying for postwar position.\u003c/p>\n\u003cp>Underneath the historical context, and the period clothes and cars, \u003cb>Flame & Citron\u003c/b> is a cautionary, timeless tale of the young soldier who’s surrendered to a just cause, and is therefore easily manipulated and used. A patriot, in other words, but not necessarily a hero.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Flame & Citron\u003c/b> opens Friday, August 21, 2009 at the Clay Theatre in San Francisco and the Elmwood Theatre in Berkeley.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Cindy Sherman is an art world superstar who has made photographic portraits of herself since the late 1970s. A master of make-up and prosthetics, she is able to easily shape-shift into a trashy Miami Beach babe, or a moldy, rotting corpse. Her work coincidentally came of age during the feminist art movement, and one of her first and best-known series, \u003cb>Untitled Film Stills\u003c/b>, was later acquired by MOMA. Everything Cindy touched turned to gold, but she never gave interviews.\u003c/p>\n\u003cp>Then came Paul H-O, the producer of \u003cb>GalleryBeat\u003c/b>, a public access television show in New York. Paul and his camera became a fixture at New York galleries in the ’90s, and Cindy Sherman uncharacteristically took kindly to his request for interviews, studio visits, and eventually dates and co-habitation. But it didn’t last.\u003c/p>\n\u003cp>When I heard that Paul H-O had made a film about life as the constant \u003cb>Guest of Cindy Sherman\u003c/b> with his old footage, and that she’d issued a statement saying she wasn’t too happy about it, it became an instant must-see. Everyone loves a scandal and some insight into the rarely filmed art world, so naturally I hit The Roxie the day the film came out. \u003cb>Guest of Cindy Sherman\u003c/b> turned out to be “all that” and a bag of blue chips. The \u003cb>GalleryBeat\u003c/b> footage is priceless; it made an elitist art world accessible during a noteworthy time in the New York scene. Celebrity interviews with other famous “guests” including Elton John’s hubby David Furnish, and Mr. Molly Ringwald were also an unexpected surprise. And the icing on the cake — all-access interviews with the mysterious Cindy Sherman.\u003c/p>\n\u003cp>Based on rumors about Cindy denouncing the film, one might think Paul was trying to defend himself to the masses by making it, looking for sympathy about his being slighted by the art world because of his famous girlfriend. Every feminist bone in your body will cringe when Paul talks about understanding what it feels like to be “the wife.” After seeing it, I went home and wrote, “Terrific movie that proves most men are big babies,” on Twitter. Surprisingly, \u003cb>Guest of Cindy Sherman\u003c/b> twittered back at me, giving me the perfect opening to track down Paul H-O and ask some lingering questions.\u003c/p>\n\u003cp>\u003cb>KF\u003c/b>: Cindy Sherman fans are surely appreciative of your on-camera interviews with her because she’s been so elusive throughout her career. What was your main goal in releasing the film, and how did Cindy feel about it?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>H-O\u003c/b>: First of all I want to absolve myself of any responsibility, a writ of sorts, a disclaimer because let’s face it, there is very little control over life. Ok, I do make decisions but I can’t help how they take over my brain. \u003cb>Guest of Cindy Sherman\u003c/b> was a real synaptic popper on the anecdotal scale. I already had great material on the 90’s art scene in NY. Then I had this situation where these people are blowing a huge wad of dough on a small super-handpicked banquet because they’re about to make a huge wad of cash off Cindy’s participation. And they know me for years, before Cindy in fact, because of \u003cb>GalleryBeat\u003c/b>, and they know we’ve been living together for years, and they can’t get my name on a paper card with human hand calligraphy.\u003c/p>\n\u003cp>I wrote a monologue, the story of \u003cb>Guest of Cindy Sherman\u003c/b>, and performed it in front of a live audience, which sealed the deal on the film. I had to make it. By the way — she loved it then and cheered it on.\u003c/p>\n\u003cp>Cindy’s opinion of the film came out in the form of an apology and disclaimer she sent to David Kwok, the director of the Tribeca Film Festival, disowning any involvement in the film. David felt that rather than kill the screening (which Cindy hoped would happen), he would print her disclaimer instead. We had, in fact, met our contractual obligations as filmmakers, and Cindy was a major part of the approval process.\u003c/p>\n\u003cp>\u003cb> KF\u003c/b>: Hope you don’t mind if I get a little personal — if you could start over and date Cindy again, would you behave differently? Would you try harder to accept her status in the art world and not let it bother you? Are you still friends with her?\u003c/p>\n\u003cp>\u003cb>H-O\u003c/b>: Well, that is one of those “If I could do it over again” questions which are impossible to answer. BUT, in relationship Make-Believe Land she would have to change, because I never didn’t acknowledge her unassailable eminence. How could anyone argue with her status in the art world? It’s fairly obvious that I support it, and the film supports that. It’s the support system around her that resembles \u003cb>Entourage\u003c/b> for the super elite that bothers me. That is why David Furnish, Sir Elton’s marriage partner, is so compelling. Elton John is one the few A-list superstars — now David and Elton are very supportive in public of each other.\u003c/p>\n\u003cp>\u003cb>KF\u003c/b>: Are you working on any other films? Do you still make artwork?\u003c/p>\n\u003cp>\u003cb>H-O\u003c/b>: Since \u003cb>Guest of Cindy Sherman\u003c/b> I made a short film about artist L.C. Armstrong. It’s literally a process film about L.C. making one giant painting of a dreamy fantastical vision of the Brooklyn Bridge. I am working on a treatment/script about what three Brooklyn artists do to support their art habits. I hope it gets to be a film — mayhem, murder and moral dilemmas inspired by British television sitcoms.\u003c/p>\n\u003cp>No, I do not make artwork. Some people think the video/film work is art, but I see it as craft. At least that is my way of seeing what I do. Work. No different than a restaurant owner.\u003c/p>\n\u003cp>\u003cb>KF\u003c/b>: \u003cb>GalleryBeat\u003c/b> seemed like a fun show. Have you thought about reviving it?\u003c/p>\n\u003cp>\u003cb>H-O\u003c/b>: We are currently working on an interweb show that is \u003cb>GalleryBeat\u003c/b> because there seems to be a demand for it as a result of the film’s 13 people that want to see \u003cb>GalleryBeat\u003c/b>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Guest of Cindy Sherman\u003c/b> runs through August 13, 2009 at The Roxie in San Francisco. Don’t miss it. For \u003ca href=\"http://www.roxie.com/\">information\u003c/a>, visit roxie.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cindy Sherman is an art world superstar who has made photographic portraits of herself since the late 1970s. A master of make-up and prosthetics, she is able to easily shape-shift into a trashy Miami Beach babe, or a moldy, rotting corpse. Her work coincidentally came of age during the feminist art movement, and one of her first and best-known series, \u003cb>Untitled Film Stills\u003c/b>, was later acquired by MOMA. Everything Cindy touched turned to gold, but she never gave interviews.\u003c/p>\n\u003cp>Then came Paul H-O, the producer of \u003cb>GalleryBeat\u003c/b>, a public access television show in New York. Paul and his camera became a fixture at New York galleries in the ’90s, and Cindy Sherman uncharacteristically took kindly to his request for interviews, studio visits, and eventually dates and co-habitation. But it didn’t last.\u003c/p>\n\u003cp>When I heard that Paul H-O had made a film about life as the constant \u003cb>Guest of Cindy Sherman\u003c/b> with his old footage, and that she’d issued a statement saying she wasn’t too happy about it, it became an instant must-see. Everyone loves a scandal and some insight into the rarely filmed art world, so naturally I hit The Roxie the day the film came out. \u003cb>Guest of Cindy Sherman\u003c/b> turned out to be “all that” and a bag of blue chips. The \u003cb>GalleryBeat\u003c/b> footage is priceless; it made an elitist art world accessible during a noteworthy time in the New York scene. Celebrity interviews with other famous “guests” including Elton John’s hubby David Furnish, and Mr. Molly Ringwald were also an unexpected surprise. And the icing on the cake — all-access interviews with the mysterious Cindy Sherman.\u003c/p>\n\u003cp>Based on rumors about Cindy denouncing the film, one might think Paul was trying to defend himself to the masses by making it, looking for sympathy about his being slighted by the art world because of his famous girlfriend. Every feminist bone in your body will cringe when Paul talks about understanding what it feels like to be “the wife.” After seeing it, I went home and wrote, “Terrific movie that proves most men are big babies,” on Twitter. Surprisingly, \u003cb>Guest of Cindy Sherman\u003c/b> twittered back at me, giving me the perfect opening to track down Paul H-O and ask some lingering questions.\u003c/p>\n\u003cp>\u003cb>KF\u003c/b>: Cindy Sherman fans are surely appreciative of your on-camera interviews with her because she’s been so elusive throughout her career. What was your main goal in releasing the film, and how did Cindy feel about it?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>H-O\u003c/b>: First of all I want to absolve myself of any responsibility, a writ of sorts, a disclaimer because let’s face it, there is very little control over life. Ok, I do make decisions but I can’t help how they take over my brain. \u003cb>Guest of Cindy Sherman\u003c/b> was a real synaptic popper on the anecdotal scale. I already had great material on the 90’s art scene in NY. Then I had this situation where these people are blowing a huge wad of dough on a small super-handpicked banquet because they’re about to make a huge wad of cash off Cindy’s participation. And they know me for years, before Cindy in fact, because of \u003cb>GalleryBeat\u003c/b>, and they know we’ve been living together for years, and they can’t get my name on a paper card with human hand calligraphy.\u003c/p>\n\u003cp>I wrote a monologue, the story of \u003cb>Guest of Cindy Sherman\u003c/b>, and performed it in front of a live audience, which sealed the deal on the film. I had to make it. By the way — she loved it then and cheered it on.\u003c/p>\n\u003cp>Cindy’s opinion of the film came out in the form of an apology and disclaimer she sent to David Kwok, the director of the Tribeca Film Festival, disowning any involvement in the film. David felt that rather than kill the screening (which Cindy hoped would happen), he would print her disclaimer instead. We had, in fact, met our contractual obligations as filmmakers, and Cindy was a major part of the approval process.\u003c/p>\n\u003cp>\u003cb> KF\u003c/b>: Hope you don’t mind if I get a little personal — if you could start over and date Cindy again, would you behave differently? Would you try harder to accept her status in the art world and not let it bother you? Are you still friends with her?\u003c/p>\n\u003cp>\u003cb>H-O\u003c/b>: Well, that is one of those “If I could do it over again” questions which are impossible to answer. BUT, in relationship Make-Believe Land she would have to change, because I never didn’t acknowledge her unassailable eminence. How could anyone argue with her status in the art world? It’s fairly obvious that I support it, and the film supports that. It’s the support system around her that resembles \u003cb>Entourage\u003c/b> for the super elite that bothers me. That is why David Furnish, Sir Elton’s marriage partner, is so compelling. Elton John is one the few A-list superstars — now David and Elton are very supportive in public of each other.\u003c/p>\n\u003cp>\u003cb>KF\u003c/b>: Are you working on any other films? Do you still make artwork?\u003c/p>\n\u003cp>\u003cb>H-O\u003c/b>: Since \u003cb>Guest of Cindy Sherman\u003c/b> I made a short film about artist L.C. Armstrong. It’s literally a process film about L.C. making one giant painting of a dreamy fantastical vision of the Brooklyn Bridge. I am working on a treatment/script about what three Brooklyn artists do to support their art habits. I hope it gets to be a film — mayhem, murder and moral dilemmas inspired by British television sitcoms.\u003c/p>\n\u003cp>No, I do not make artwork. Some people think the video/film work is art, but I see it as craft. At least that is my way of seeing what I do. Work. No different than a restaurant owner.\u003c/p>\n\u003cp>\u003cb>KF\u003c/b>: \u003cb>GalleryBeat\u003c/b> seemed like a fun show. Have you thought about reviving it?\u003c/p>\n\u003cp>\u003cb>H-O\u003c/b>: We are currently working on an interweb show that is \u003cb>GalleryBeat\u003c/b> because there seems to be a demand for it as a result of the film’s 13 people that want to see \u003cb>GalleryBeat\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Guest of Cindy Sherman\u003c/b> runs through August 13, 2009 at The Roxie in San Francisco. Don’t miss it. For \u003ca href=\"http://www.roxie.com/\">information\u003c/a>, visit roxie.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We’re gonna have a party this Friday night.\u003c/p>\n\u003cp>Thing is, we’ll never be a super-band until we have Eddie Van Halen on guitar. But we won’t get Eddie Van Halen until we have a triumphant video. But it’s pointless to have a triumphant video before we even have decent instruments. But how can we have decent instruments when we don’t really even know how to play? That is why we need Eddie Van Halen. And that is why we need a triumphant video. Excellent!\u003c/p>\n\u003cp>How silly can you get, yeah? Yeah!\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=R1AEDwsoCx8&hl=en&fs=1&]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Finally 1983’s \u003ca href=\"http://www.youtube.com/watch?v=sX665QVpzAY\">\u003cb>Get Crazy\u003c/b>\u003c/a> is a rollicking, Lou Reed-intensive rock-music-biz parable and satirical valentine to the Fillmore East that’s more goofy and insane than all those other films put together.\u003c/p>\n\u003cp>To borrow a phrase from the latter, “Rock ‘n’ roll is gonna be fun again!” And what more could anybody ask of an August Friday evening? If this night doesn’t drop you, nothing will.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Rock ‘Til You Drop\u003c/b> begins at 7pm Friday, August 7, 2009 at the Castro Theatre in San Francisco. For \u003ca href=\"http://www.midnitesformaniacs.com/\">tickets andinformation\u003c/a>, visit midnitesformaniacs.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re gonna have a party this Friday night.\u003c/p>\n\u003cp>Thing is, we’ll never be a super-band until we have Eddie Van Halen on guitar. But we won’t get Eddie Van Halen until we have a triumphant video. But it’s pointless to have a triumphant video before we even have decent instruments. But how can we have decent instruments when we don’t really even know how to play? That is why we need Eddie Van Halen. And that is why we need a triumphant video. Excellent!\u003c/p>\n\u003cp>How silly can you get, yeah? Yeah!\u003c/p>\n\u003cp>\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/R1AEDwsoCx8'\n title='//www.youtube.com/embed/R1AEDwsoCx8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Finally 1983’s \u003ca href=\"http://www.youtube.com/watch?v=sX665QVpzAY\">\u003cb>Get Crazy\u003c/b>\u003c/a> is a rollicking, Lou Reed-intensive rock-music-biz parable and satirical valentine to the Fillmore East that’s more goofy and insane than all those other films put together.\u003c/p>\n\u003cp>To borrow a phrase from the latter, “Rock ‘n’ roll is gonna be fun again!” And what more could anybody ask of an August Friday evening? If this night doesn’t drop you, nothing will.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Rock ‘Til You Drop\u003c/b> begins at 7pm Friday, August 7, 2009 at the Castro Theatre in San Francisco. For \u003ca href=\"http://www.midnitesformaniacs.com/\">tickets andinformation\u003c/a>, visit midnitesformaniacs.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-128776 alignleft\" alt=\"500-days\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2009/07/500-days.jpg\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2009/07/500-days.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2009/07/500-days-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2009/07/500-days-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/p>\n\u003cp>Does it get more indie than a romantic comedy starring Joseph Gordon-Levitt and Zooey Deschanel that’s packed with Smiths references galore and moves to the music of Regina Spektor? In short, the answer is no, but this isn’t necessarily a bad thing. \u003cb>500 Days of Summer\u003c/b> does very well being exactly what it’s meant to be: a bittersweet, off-beat take on hipster love. Now, you might roll your eyes or scoff because hating on hip youth is really in right now, but this film isn’t like the others; it’s actually quite smart and charming.\u003c/p>\n\u003cp>\u003cb>500 Days of Summer\u003c/b> tells the story of greeting card writer Tom Hansen who believes in soul mates and thinks he’s found one in the form of his boss’s irresistable new secretary, Summer Finn. Trouble is Summer doesn’t believe in love. What ensues is a reversal of common silver screen gender roles: he becomes the overzealous lover who wants to know what their relationship status is, while she’s busy being the heartless narcissist.\u003c/p>\n\u003cp>While calling it off with Tom over pancakes, Summer explains her reasoning: “We’ve been kind of Sid and Nancy lately.” Tom protests, “Yes, we have arguments, but I hardly think I’m Sid Vicious,” to which Summer twists the knife: “No, I’m Sid.” Not only is she breaking his heart, but she is emasculating him in the process. Tom exhibits other typically feminine responses throughout the movie — endlessly wallowing over his unrequited love, smashing plates, idealizing an imperfect lover in a cartoonish way, etc. If you ask me, men in the movies could use more of this treatment. Machismo is just so boring.\u003c/p>\n\u003cp>Joseph Gordon-Levitt plays the role of the heartbroken wannabe boyfriend so well that it’s hard not to spend the entire movie falling for him. It doesn’t hurt that he’s so dreamy either. (A fellow movie-goer came out of the theater gushing, “He looks just like Heath Ledger, but hotter!”) I’ll have to agree with her on that, even though it’s an unfair comparison considering the other dude is dead. Zooey Deschannel doesn’t disappoint either as she brings intelligence to Summer’s bitchiness and provides a subtle layer of depth underneath the character’s hypocrisy. She’s not too bad on the eyes either, as many drooling indie fanboys will affirm.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the real looker in \u003cb>500 Days of Summer\u003c/b> is the setting. At first glance, it appears as though we’re in store for another stroll through New York, but the downtown landscape turns out to be Los Angeles. The camera wipes away the smog and the sea of fame whores to reveal an LA not often seen, one that’s beautiful, one where interesting people who don’t want to be famous singers/actors live, love, and break up. As Liz Lemon would say, I want to go to there.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2009/07/500-days2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-128777 alignleft\" alt=\"500-days2\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2009/07/500-days2.jpg\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2009/07/500-days2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2009/07/500-days2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2009/07/500-days2-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>\u003cb>500 Days of Summer\u003c/b> kind of reminds me of a fluffier \u003cb>Eternal Sunshine of the Spotless Mind\u003c/b> or \u003cb>Annie Hall\u003c/b>. The movie doesn’t intend to be serious or dramatic, as evidenced by a ridiculously goofy dance sequence with an animated bluebird. But what it does share in common with those seminal classics is that it remains honest about the fact that love can fail. Desire gets the best of people, lovers get burned, and sometimes the gaudily wrapped happy ending never comes to pass. The script swaps the mythology of princes on white horses rescuing maidens and riding off in slow-motion for something a bit more genuine.\u003c/p>\n\u003cp>While the film strays from convention in some spots, it reinforces a certain stereotype of the “subversive urban hipster” in others. Naturally Tom listens to the Smiths on large headphones in elevators, and of course he owns tee-shirts with Joy Division and The Clash album covers on them. It all seems too predictable and one-dimensional at times, but, for some reason, it doesn’t matter. Neither does the cheesy ending (which I won’t give away here) or a certain inconsistency in Summer’s behavior. These minor grievances ultimately take a backseat to what \u003cb>500 Days of Summer\u003c/b> accomplishes: making the viewer feel \u003ci>something\u003c/i>, which is what any good movie hopes to do.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PsD0NpFSADM\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-128776 alignleft\" alt=\"500-days\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2009/07/500-days.jpg\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2009/07/500-days.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2009/07/500-days-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2009/07/500-days-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/p>\n\u003cp>Does it get more indie than a romantic comedy starring Joseph Gordon-Levitt and Zooey Deschanel that’s packed with Smiths references galore and moves to the music of Regina Spektor? In short, the answer is no, but this isn’t necessarily a bad thing. \u003cb>500 Days of Summer\u003c/b> does very well being exactly what it’s meant to be: a bittersweet, off-beat take on hipster love. Now, you might roll your eyes or scoff because hating on hip youth is really in right now, but this film isn’t like the others; it’s actually quite smart and charming.\u003c/p>\n\u003cp>\u003cb>500 Days of Summer\u003c/b> tells the story of greeting card writer Tom Hansen who believes in soul mates and thinks he’s found one in the form of his boss’s irresistable new secretary, Summer Finn. Trouble is Summer doesn’t believe in love. What ensues is a reversal of common silver screen gender roles: he becomes the overzealous lover who wants to know what their relationship status is, while she’s busy being the heartless narcissist.\u003c/p>\n\u003cp>While calling it off with Tom over pancakes, Summer explains her reasoning: “We’ve been kind of Sid and Nancy lately.” Tom protests, “Yes, we have arguments, but I hardly think I’m Sid Vicious,” to which Summer twists the knife: “No, I’m Sid.” Not only is she breaking his heart, but she is emasculating him in the process. Tom exhibits other typically feminine responses throughout the movie — endlessly wallowing over his unrequited love, smashing plates, idealizing an imperfect lover in a cartoonish way, etc. If you ask me, men in the movies could use more of this treatment. Machismo is just so boring.\u003c/p>\n\u003cp>Joseph Gordon-Levitt plays the role of the heartbroken wannabe boyfriend so well that it’s hard not to spend the entire movie falling for him. It doesn’t hurt that he’s so dreamy either. (A fellow movie-goer came out of the theater gushing, “He looks just like Heath Ledger, but hotter!”) I’ll have to agree with her on that, even though it’s an unfair comparison considering the other dude is dead. Zooey Deschannel doesn’t disappoint either as she brings intelligence to Summer’s bitchiness and provides a subtle layer of depth underneath the character’s hypocrisy. She’s not too bad on the eyes either, as many drooling indie fanboys will affirm.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the real looker in \u003cb>500 Days of Summer\u003c/b> is the setting. At first glance, it appears as though we’re in store for another stroll through New York, but the downtown landscape turns out to be Los Angeles. The camera wipes away the smog and the sea of fame whores to reveal an LA not often seen, one that’s beautiful, one where interesting people who don’t want to be famous singers/actors live, love, and break up. As Liz Lemon would say, I want to go to there.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2009/07/500-days2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-128777 alignleft\" alt=\"500-days2\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2009/07/500-days2.jpg\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2009/07/500-days2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2009/07/500-days2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2009/07/500-days2-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>\u003cb>500 Days of Summer\u003c/b> kind of reminds me of a fluffier \u003cb>Eternal Sunshine of the Spotless Mind\u003c/b> or \u003cb>Annie Hall\u003c/b>. The movie doesn’t intend to be serious or dramatic, as evidenced by a ridiculously goofy dance sequence with an animated bluebird. But what it does share in common with those seminal classics is that it remains honest about the fact that love can fail. Desire gets the best of people, lovers get burned, and sometimes the gaudily wrapped happy ending never comes to pass. The script swaps the mythology of princes on white horses rescuing maidens and riding off in slow-motion for something a bit more genuine.\u003c/p>\n\u003cp>While the film strays from convention in some spots, it reinforces a certain stereotype of the “subversive urban hipster” in others. Naturally Tom listens to the Smiths on large headphones in elevators, and of course he owns tee-shirts with Joy Division and The Clash album covers on them. It all seems too predictable and one-dimensional at times, but, for some reason, it doesn’t matter. Neither does the cheesy ending (which I won’t give away here) or a certain inconsistency in Summer’s behavior. These minor grievances ultimately take a backseat to what \u003cb>500 Days of Summer\u003c/b> accomplishes: making the viewer feel \u003ci>something\u003c/i>, which is what any good movie hopes to do.\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/PsD0NpFSADM'\n title='//www.youtube.com/embed/PsD0NpFSADM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s easy to play the provocateur. But the willingness to court controversy — to be a rebel with a cause — requires courage. That’s a quality the San Francisco Jewish Film Festival has always had in abundance.\u003c/p>\n\u003cp>Identity film festivals actively seek out images beyond mainstream movie and television strictures, yet typically gravitate toward positive portrayals. The SFJFF takes a more aggressive and risky approach, inspired in part by the Bay Area’s rep as a fount of political discourse and activism. The other key determinant is that American Jews have been fully integrated into the economic, political, cultural and social systems since the 1950s. Unlike, say, African-Americans and gays and lesbians, Jews no longer consider themselves outsiders victimized every day by discrimination, and have little need for affirmation. Self-examination, however, is a different kettle of gefilte fish.\u003c/p>\n\u003cp>Which brings us to Yoav Shamir’s discomfiting conversation-starter, \u003cb>Defamation\u003c/b>. The young-but-prominent Israeli documentary maker ostensibly set out to learn about anti-Semitism from career opponents such as Abe Foxman, the national director of the New York-based Anti-Defamation League. Shamir’s agenda, in fact, is to question whether it is a good thing for Jews (in Israel as well as the U.S.) to be raised and/or trained to see the world as a bastion of enemies.\u003c/p>\n\u003cp>Shamir undercuts any earnestness with droll narration and casual, longer-than-normal, on-the-move interviews, but he’s dead serious under that veneer. He keeps his eye and ear tuned for the throwaway comment that is most revealing, then draws in closer. \u003cb>Defamation\u003c/b> will receive a theatrical release in the fall, but it should really be seen at the SFJFF (Shamir is slated to attend the July 26, 2009 screening). There’s no better place to grapple with the $64,000 question, 64 years later: How much should Jewish identity be defined by the Holocaust?\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rachel.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The other obvious place where sensitive issues intersect with Jewish self-definition is Israel, which provides the tense setting for French-Israeli director Simone Bitton’s wrenching but uneven \u003cb>Rachel\u003c/b>. Actually, not Israel so much as Gaza, where 22-year-old American activist Rachel Corrie was killed in 2003 trying to stop a bulldozer encroaching on (and perhaps preparing to destroy) a Palestinian home. Bitton is even more dogged than Shamir in probing the circumstances and facts of the ghastly incident, which suggest a freakish, wholly avoidable tragedy. The documentary jumped to the #1 spot on the hot-button charts as soon as the festival lineup was announced, thanks to local center-right Israel supporters upset — so they say — because Corrie’s mother was invited to the July 25 show.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/refugees.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>There are a bunch of terrific films beyond these two, of course, including the gripping, true-life World War II saga \u003cb>Broken Promise\u003c/b> from Slovakia and \u003cb>Refugees\u003c/b>, a valuable Israeli documentary exposing the plight of Sudanese emigres fleeing north across the Egyptian border in search of a safe haven. Israel’s response to these illegal immigrants evokes the U.S.’s dilemma with Mexicans venturing north, with an even stronger moral imperative: Only a percentage of the Jews attempting to escape Europe before and during World War II were granted entry by the U.S., Britain and other countries, and the rest were essentially doomed to the death camps. That was one of the factors that paved the way for the founding of a Jewish state. So how can a country created by and for refugees deny people in similar straits?\u003c/p>\n\u003cp>There are some places, I imagine, where raising difficult questions is neither controversial nor provocative. That is truly the Promised Land.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco Jewish Film Festival runs July 23-30, 2009 at the Castro Theatre in San Francisco, Aug. 1-6 at the CineArts in Palo Alto, Aug. 1-8 at the Roda Theatre in Berkeley, Aug. 8-9 at the JCC of San Francisco and Aug. 8-10, 2009 at the Smith Rafael Film Center in San Rafael. For \u003ca href=\"http://fest.sfjff.org/\">tickets and information\u003c/a> visit sfjff.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The other obvious place where sensitive issues intersect with Jewish self-definition is Israel, which provides the tense setting for French-Israeli director Simone Bitton’s wrenching but uneven \u003cb>Rachel\u003c/b>. Actually, not Israel so much as Gaza, where 22-year-old American activist Rachel Corrie was killed in 2003 trying to stop a bulldozer encroaching on (and perhaps preparing to destroy) a Palestinian home. Bitton is even more dogged than Shamir in probing the circumstances and facts of the ghastly incident, which suggest a freakish, wholly avoidable tragedy. The documentary jumped to the #1 spot on the hot-button charts as soon as the festival lineup was announced, thanks to local center-right Israel supporters upset — so they say — because Corrie’s mother was invited to the July 25 show.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/refugees.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>There are a bunch of terrific films beyond these two, of course, including the gripping, true-life World War II saga \u003cb>Broken Promise\u003c/b> from Slovakia and \u003cb>Refugees\u003c/b>, a valuable Israeli documentary exposing the plight of Sudanese emigres fleeing north across the Egyptian border in search of a safe haven. Israel’s response to these illegal immigrants evokes the U.S.’s dilemma with Mexicans venturing north, with an even stronger moral imperative: Only a percentage of the Jews attempting to escape Europe before and during World War II were granted entry by the U.S., Britain and other countries, and the rest were essentially doomed to the death camps. That was one of the factors that paved the way for the founding of a Jewish state. So how can a country created by and for refugees deny people in similar straits?\u003c/p>\n\u003cp>There are some places, I imagine, where raising difficult questions is neither controversial nor provocative. That is truly the Promised Land.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco Jewish Film Festival runs July 23-30, 2009 at the Castro Theatre in San Francisco, Aug. 1-6 at the CineArts in Palo Alto, Aug. 1-8 at the Roda Theatre in Berkeley, Aug. 8-9 at the JCC of San Francisco and Aug. 8-10, 2009 at the Smith Rafael Film Center in San Rafael. For \u003ca href=\"http://fest.sfjff.org/\">tickets and information\u003c/a> visit sfjff.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
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