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"content": "\u003cp>As home to a thriving community of documentary filmmakers, the Bay Area is ideally situated for a revival of the work of Emile de Antonio, a towering figure in the field who brought a new level of artistry to compilation filmmaking with his classic \u003cb>Point of Order\u003c/b>. This reworking of the Army-McCarthy Hearings of 1954 kicks off the film series, which runs through February 28, 2008 at the Phyllis Wattis Theater at SFMOMA.\u003c/p>\n\u003cp>\u003c/p>\u003cp>The vigorous and often vicious pursuit of suspected Communists in the 1950s has turned into the stuff of legend in the US — meaning, of course, that it has spawned countless books, plays, and films. Most creative explorations of these fevered investigations fueled by fear, uncertainty, and paranoia have focused on the activities of the House Committee on Un-American Activities (HUAC), particularly since HUAC was responsible for hounding Hollywood into blacklisting over 300 artists. But that junior senator from Wisconsin, Joseph McCarthy, was the public face of the hunt for Communists for many Americans, and he remains an enduring symbol of smear tactics and fear mongering in a nation whose political scene has come to be largely dominated by those tactics.\u003c/p>\n\u003cp>In 1954, the McCarthy machine came head to head with the US Army, when the Army charged that McCarthy and his chief counsel Roy Cohn had tried to pressure the Army into giving preferential treatment to a former aide-turned-private, G. David Schine. McCarthy responded that the Army was holding Schine “hostage” to keep his committee from exposing Communists within the military. The Senate hearings on the charges opened on April 22, 1954 and lasted for 36 days, televised in their entirety to a national audience. In \u003cb>Point of Order\u003c/b>, de Antonio takes the nearly 190 hours of footage produced from the hearings and distills them into 93 minutes. \u003c/p>\n\u003cp>Presented without voiceover or commentary, \u003cb>Point of Order\u003c/b> gives form and perspective to what could be called the greatest courtroom drama caught on film. De Antonio opens the film by introducing us to the colorful cast of characters in the room representing the Army and the Committee, showing a freeze frame of each individual accompanied by a speech demonstrating their contribution. Fascinatingly, he does not introduce McCarthy — this is a man who needs no introduction — and his arrival on screen elicited actual hissing from the audience at the screening I attended last Saturday. De Antonio shows each argument from the hearings organized by topic, presenting each one as if it is an uninterrupted conversation. It is amazingly seamless to watch, despite subtle changes in outfit and atmosphere as the conversation leaps from day to day within seconds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>McCarthy, as crafted by de Antonio, takes on the larger-than-life villainous proportions he fills in US history. The close of the film leaves us with McCarthy delivering a rant to an exiting, disinterested audience — again cut together from several different days — mirroring how the American public turned their backs on him in the wake of the televised hearings. In that final scene, you can almost hear McCarthy chewing the scenery, and it is that much more chilling to remember that these are real events that actually took place, if artfully arranged. \u003cb>Point of Order\u003c/b> has only gained in relevance through the years, and will undoubtedly remain a vital historical record — not an objective one, but a valued interpretation. The SFMOMA showing is a double feature with \u003cb>Charge and Countercharge\u003c/b>, a shorter recap of the same events in which de Antonio includes a small amount of context through a short voiceover.\u003c/p>\n\u003cp>A close friend and contemporary of such luminaries as Robert Rauschenberg, Andy Warhol, and John Cage, Emile de Antonio began his film career late in life. It was a career largely defined by political material; all but three of his films are about the Cold War. His subjects range from the Kennedy assassination in \u003cb>Rush to Judgment\u003c/b> to the Weather Underground to his friends in the NY art scene in \u003cb>Painters Painting\u003c/b>. All of these, along with the rest of de Antonio’s catalogue, can be seen at SFMOMA through February 28, 2008. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Films of Emile de Antonio\u003c/b> run through February 28, 2008 at SFMOMA. For a \u003ca href=\"http://www.sfmoma.org/calendar/calendar_event.asp?eventid=1157&etype=11&func=repeat\" target=\"offsite\" rel=\"noopener\">full program\u003c/a> visit sfmoma.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As home to a thriving community of documentary filmmakers, the Bay Area is ideally situated for a revival of the work of Emile de Antonio, a towering figure in the field who brought a new level of artistry to compilation filmmaking with his classic \u003cb>Point of Order\u003c/b>. This reworking of the Army-McCarthy Hearings of 1954 kicks off the film series, which runs through February 28, 2008 at the Phyllis Wattis Theater at SFMOMA.\u003c/p>\n\u003cp>\u003c/p>\u003cp>The vigorous and often vicious pursuit of suspected Communists in the 1950s has turned into the stuff of legend in the US — meaning, of course, that it has spawned countless books, plays, and films. Most creative explorations of these fevered investigations fueled by fear, uncertainty, and paranoia have focused on the activities of the House Committee on Un-American Activities (HUAC), particularly since HUAC was responsible for hounding Hollywood into blacklisting over 300 artists. But that junior senator from Wisconsin, Joseph McCarthy, was the public face of the hunt for Communists for many Americans, and he remains an enduring symbol of smear tactics and fear mongering in a nation whose political scene has come to be largely dominated by those tactics.\u003c/p>\n\u003cp>In 1954, the McCarthy machine came head to head with the US Army, when the Army charged that McCarthy and his chief counsel Roy Cohn had tried to pressure the Army into giving preferential treatment to a former aide-turned-private, G. David Schine. McCarthy responded that the Army was holding Schine “hostage” to keep his committee from exposing Communists within the military. The Senate hearings on the charges opened on April 22, 1954 and lasted for 36 days, televised in their entirety to a national audience. In \u003cb>Point of Order\u003c/b>, de Antonio takes the nearly 190 hours of footage produced from the hearings and distills them into 93 minutes. \u003c/p>\n\u003cp>Presented without voiceover or commentary, \u003cb>Point of Order\u003c/b> gives form and perspective to what could be called the greatest courtroom drama caught on film. De Antonio opens the film by introducing us to the colorful cast of characters in the room representing the Army and the Committee, showing a freeze frame of each individual accompanied by a speech demonstrating their contribution. Fascinatingly, he does not introduce McCarthy — this is a man who needs no introduction — and his arrival on screen elicited actual hissing from the audience at the screening I attended last Saturday. De Antonio shows each argument from the hearings organized by topic, presenting each one as if it is an uninterrupted conversation. It is amazingly seamless to watch, despite subtle changes in outfit and atmosphere as the conversation leaps from day to day within seconds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>McCarthy, as crafted by de Antonio, takes on the larger-than-life villainous proportions he fills in US history. The close of the film leaves us with McCarthy delivering a rant to an exiting, disinterested audience — again cut together from several different days — mirroring how the American public turned their backs on him in the wake of the televised hearings. In that final scene, you can almost hear McCarthy chewing the scenery, and it is that much more chilling to remember that these are real events that actually took place, if artfully arranged. \u003cb>Point of Order\u003c/b> has only gained in relevance through the years, and will undoubtedly remain a vital historical record — not an objective one, but a valued interpretation. The SFMOMA showing is a double feature with \u003cb>Charge and Countercharge\u003c/b>, a shorter recap of the same events in which de Antonio includes a small amount of context through a short voiceover.\u003c/p>\n\u003cp>A close friend and contemporary of such luminaries as Robert Rauschenberg, Andy Warhol, and John Cage, Emile de Antonio began his film career late in life. It was a career largely defined by political material; all but three of his films are about the Cold War. His subjects range from the Kennedy assassination in \u003cb>Rush to Judgment\u003c/b> to the Weather Underground to his friends in the NY art scene in \u003cb>Painters Painting\u003c/b>. All of these, along with the rest of de Antonio’s catalogue, can be seen at SFMOMA through February 28, 2008. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Films of Emile de Antonio\u003c/b> run through February 28, 2008 at SFMOMA. For a \u003ca href=\"http://www.sfmoma.org/calendar/calendar_event.asp?eventid=1157&etype=11&func=repeat\" target=\"offsite\" rel=\"noopener\">full program\u003c/a> visit sfmoma.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In lieu of a Top 10 list, which essentially invites you to put your picks against mine in an ego-fueled contest of “whose is bigger,” here’s a selection of worthwhile films that likely slipped past you during their brief stopover in Bay Area theaters. They might not be the “best” films of 2007, but they’re all movies I could watch again in five years, or 25 years.\u003c/p>\n\u003cp>1. Heddy Honigmann’s breathtaking documentary \u003cb>Forever\u003c/b>, which uses Paris’s famed Pere-Lachaise Cemetery as its hub, screened once at the S.F. International Film Festival when the director was honored with the Persistence of Vision Award. A beautiful and profound work, the film provides a visceral experience of the immortality of great art, and the continuing influence of deceased artists on the living. \u003cb>Forever\u003c/b> had a brief theatrical run in New York, but there’s no sign of a DVD release on the horizon. Its placement at the top of my list is not intended as a frustrating tease, though, but as an imperative to add it to your must-do-some-day list.\u003c/p>\n\u003cp>2. There was a period when the best films in the world were coming out of Paris, then Hong Kong, then Tehran. Now Bucharest is the hot spot, with \u003cb>The Death of Mr. Lazarescu\u003c/b> making critics’ lists in 2006 and \u003cb>Four Months, Three Weeks and Two Days\u003c/b> (opening here Feb. 1) primed to cut a swath. \u003cb>12:08 East of Bucharest\u003c/b> screened at the Roxie in September with little fanfare, but this no-frills tale of a day in the life of three men who convene on a TV panel to wax nostalgic about the day of the revolution is well worth a look. Writer-director Corneliu Porumboiu provides a caustic reminder that people invent and forget recent history as it suits them -— a Stalinist technique that the Bush Administration has appropriated (but I digress). The film dares to point out that a lot of people aren’t happy about the death of communism, whether they’re closet fascists or simply preferred that nightmare to the evil of cold-hearted capitalism.\u003c/p>\n\u003cp>3. \u003cb>Mafioso\u003c/b>, Alberto Lattuada’s 1962 satire of Italy’s postwar economic miracle, was the revival of the year (along with \u003cb>Rules of the Game\u003c/b>, which was wondrously restored to gorgeous perfection). The great Alberto Sordi plays a bright young Milan factory manager who takes his sophisticated, big-city trophy wife and kids back to his village in Sicily. Lattuada wrings sly chuckles out of the culture shock, then takes the story in darker, deeper directions.\u003c/p>\n\u003cp>4. \u003cb>Gypsy Caravan\u003c/b> is a concert film, road movie and social-issue documentary rolled into one musical feast. Jasmine Dellal’s opus premiered at S.F. IndieFest and earned a run at the Roxie, and should really be seen on the big screen. But if you can pump up the volume on your home theater system, you’ll want to check out the DVD when it’s released in 2008.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>5. The marvelous Australian Aborigine fable, \u003cb>Ten Canoes\u003c/b>, immerses the viewer in a time and place that’s both distant and timeless. A sardonic tale about the curse of hubris and the cost of misguided violence, Rolf de Heer’s film somehow feels quite timely. The lilting voice of narrator David Gulpilil and the swampy, inexorable cinematography of Ian Jones conspire to cast a delicious spell.\u003c/p>\n\u003cp>6. The veteran political filmmaker Ken Loach infuses every frame of \u003cb>The Wind That Shakes the Barley\u003c/b> with a simmering rage against injustice. This saga of conscience and sacrifice set amidst Ireland’s “troubles” in the early 1920s boasts a first-rate script by Paul Laverty and a no-holds-barred performance by Cillian Murphy.\u003c/p>\n\u003cp>7. At 160 meditative, mellifluous minutes, \u003cb>The Assassination of Jesse James by the Outlaw Robert Ford\u003c/b> probably dissuaded some moviegoers from going to the theater. Andrew Dominik’s adaptation of Ron Hansen’s novel is crammed with insights and artistry, but it’s perhaps best viewed as Brad Pitt’s response to the Warren Beatty films of the ’70s (notably \u003cb>McCabe and Mrs. Miller\u003c/b>). In addition to playing a character, Pitt (as Beatty did) is commenting on his public persona, the curse of celebrity, the threat of betrayal and the immortality guaranteed to movie stars.\u003c/p>\n\u003cp>8. \u003cb>Grbavica\u003c/b>, which unfolds in Sarajevo in the aftermath of the Bosnia war, is a powerful exploration of the relationship between a single working mother and her 12-year-old daughter. The proverbial secrets threaten their bond, the gritty Eastern European setting is often cheerless, yet a ray of redemption lifts the picture into a kind of transcendence.\u003c/p>\n\u003cp>9. \u003cb>The Hoax\u003c/b>. How can a film starring Richard Gere find its way onto a list of overlooked movies? When it does only $7 million at the box office. This crafty, fast-paced and deceptively dense comedy recounts how Clifford Irving conned publisher McGraw-Hill into believing that he’d been tapped by Howard Hughes to pen the reclusive billionaire’s autobiography. Gere makes a brashly enthusiastic salesman, while Alfred Molina sweats buckets as Irving’s friend and accomplice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>10. How can a film starring Angelina Jolie find its way onto a list of overlooked movies? OK, \u003cb>A Mighty Heart\u003c/b> wasn’t overlooked, but it was definitely underrated. Critics and moviegoers expecting the story of Wall Street Journal reporter Daniel Pearl’s post-9/11 kidnapping in Pakistan to be turned into a Jolie vehicle were disappointed, but not those who appreciated British director Michael Winterbottom’s talent for submerging the viewer in the disorienting cacophony of Karachi. American audiences generally avoided every Iraq War-themed movie of 2007, perhaps because we don’t want to face our culpability in a disaster of enormous proportions. But if you want a sense of the Muslim street, and what the world is like beyond CNN’s filter, this is the film to see.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>5. The marvelous Australian Aborigine fable, \u003cb>Ten Canoes\u003c/b>, immerses the viewer in a time and place that’s both distant and timeless. A sardonic tale about the curse of hubris and the cost of misguided violence, Rolf de Heer’s film somehow feels quite timely. The lilting voice of narrator David Gulpilil and the swampy, inexorable cinematography of Ian Jones conspire to cast a delicious spell.\u003c/p>\n\u003cp>6. The veteran political filmmaker Ken Loach infuses every frame of \u003cb>The Wind That Shakes the Barley\u003c/b> with a simmering rage against injustice. This saga of conscience and sacrifice set amidst Ireland’s “troubles” in the early 1920s boasts a first-rate script by Paul Laverty and a no-holds-barred performance by Cillian Murphy.\u003c/p>\n\u003cp>7. At 160 meditative, mellifluous minutes, \u003cb>The Assassination of Jesse James by the Outlaw Robert Ford\u003c/b> probably dissuaded some moviegoers from going to the theater. Andrew Dominik’s adaptation of Ron Hansen’s novel is crammed with insights and artistry, but it’s perhaps best viewed as Brad Pitt’s response to the Warren Beatty films of the ’70s (notably \u003cb>McCabe and Mrs. Miller\u003c/b>). In addition to playing a character, Pitt (as Beatty did) is commenting on his public persona, the curse of celebrity, the threat of betrayal and the immortality guaranteed to movie stars.\u003c/p>\n\u003cp>8. \u003cb>Grbavica\u003c/b>, which unfolds in Sarajevo in the aftermath of the Bosnia war, is a powerful exploration of the relationship between a single working mother and her 12-year-old daughter. The proverbial secrets threaten their bond, the gritty Eastern European setting is often cheerless, yet a ray of redemption lifts the picture into a kind of transcendence.\u003c/p>\n\u003cp>9. \u003cb>The Hoax\u003c/b>. How can a film starring Richard Gere find its way onto a list of overlooked movies? When it does only $7 million at the box office. This crafty, fast-paced and deceptively dense comedy recounts how Clifford Irving conned publisher McGraw-Hill into believing that he’d been tapped by Howard Hughes to pen the reclusive billionaire’s autobiography. Gere makes a brashly enthusiastic salesman, while Alfred Molina sweats buckets as Irving’s friend and accomplice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>10. How can a film starring Angelina Jolie find its way onto a list of overlooked movies? OK, \u003cb>A Mighty Heart\u003c/b> wasn’t overlooked, but it was definitely underrated. Critics and moviegoers expecting the story of Wall Street Journal reporter Daniel Pearl’s post-9/11 kidnapping in Pakistan to be turned into a Jolie vehicle were disappointed, but not those who appreciated British director Michael Winterbottom’s talent for submerging the viewer in the disorienting cacophony of Karachi. American audiences generally avoided every Iraq War-themed movie of 2007, perhaps because we don’t want to face our culpability in a disaster of enormous proportions. But if you want a sense of the Muslim street, and what the world is like beyond CNN’s filter, this is the film to see.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Youth Without Youth\u003c/b>, Francis Ford Coppola’s first foray behind the camera in a decade, is a world-class conundrum. It’s an unabashedly philosophical and cerebral work by a director who once gloried in making heart-pounding, mass-market dramas. It is a personal film, and a deeply felt one, yet utterly lacking in emotional punch. \u003cb>Youth Without Youth\u003c/b> is impeccably crafted, befitting a filmmaker with 45 years of experience, but it’s stultifying from start to finish. Here’s the final paradox: The movie looks and sounds great from moment to moment, but the whole is significantly less than the sum of its parts.\u003c/p>\n\u003cp>\u003cb>Youth Without Youth\u003c/b> is a resounding misfire, in other words, but it cannot be dismissed with a shovelful of scorn. I’m not suggesting that 20 years from now we’ll realize that Coppola made another masterpiece to rank with the first two \u003cb>Godfather\u003c/b> movies, \u003cb>The Conversation\u003c/b> and \u003cb>Apocalypse Now\u003c/b>. But neither should \u003cb>Youth Without Youth\u003c/b> be reviled as self-indulgent dreck, or the unfocused mumblings of an older filmmaker (hell, he’s only 68) who should have all his cameras, gadgets and gizmos locked safely out of reach.\u003c/p>\n\u003cp>Coppola adapted Romanian writer Mircea Eliade’s novella, first published in English in 1988, and the film is suffused with a mid-20th-century Eastern European sensibility. (That’s true, oddly enough, even in the sequences set in India and Malta.) It’s the same stillborn mood that permeated all those airless, lifeless Euro-pudding period pieces shot in Prague in the ’80s and ’90s, with two-dimensional characters wandering among elegant buildings. We feel as if we’re watching events unfold through a veneer of amber and velvet, like in a museum or Madame Tussaud’s waxworks.\u003c/p>\n\u003cp>The lugubrious plot centers on Dominic Mattei (Tim Roth), a septuagenarian professor who’s struck by lightning on the street and, instead of succumbing to his burns, is rejuvenated and reborn as a man some 40 years younger. Bruno Ganz brings a touch of wit and humanity to the role of Dominic’s doctor, which is sorely missed once he departs the proceedings.\u003c/p>\n\u003cp>With his unexpected life extension, Dominic now has the chance to complete his academic, ambitious and (to most moviegoers) hopelessly irrelevant life’s work. But first he must sidestep the Nazis, who want to corral whatever mystical power he has miraculously obtained. There’s a dame involved, naturally, and there’s also another girl, revealed in flashbacks, who loved Dominic back in their student days but broke up with him because he always put his work first.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A third girl shows up in due time, a kind of reincarnation of Dominic’s old girlfriend who becomes a vehicle for his major research project. (It’s a completely abstract concept involving language and communication, without a wisp of urgency or dramatic power.) But Dominic comes to see that his work is taking a physical toll on his lover, and must choose one or the other.\u003c/p>\n\u003cp>Despite all these love interests, \u003cb>Youth Without Youth\u003c/b> is a stunningly chaste film. My complaint, however, isn‘t that Coppola fails to supply enough skin to compete with the other fare down at the multiplex. Rather, it’s that his characters aren’t flesh-and-blood people. Coppola never used to be so stingy with precious bodily fluids, so what’s going on? Certainly his sex drive isn’t what it was when he cast Playboy playmates-of-the-month for a key scene in \u003cb>Apocalypse Now\u003c/b>, but he couldn’t have forgotten that the life force is what truly drives people — and movies.\u003c/p>\n\u003cp>\u003cb>Youth Without Youth\u003c/b> invites us to ponder why a director with four immortal films to his credit, who was allowed to do most anything he wanted, identifies with a character doomed to fall so far short of his professional (and romantic) goals. This is, alas, the final conundrum. At least Coppola isn’t asking for our sympathy, or ourpity. Good thing, too, because his film doesn’t provoke anystronger response than a shrug.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Youth Without Youth\u003c/b> opens Fri, Dec. 14, 2007.\u003c/p>\n\n",
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"content": "\u003cp>I’ve never been the kid humming the \u003cb>Star Wars\u003c/b> theme or brandishing Tolkien, but, for one summer, I was the kid with his nose perpetually stuck in Philip Pullman’s \u003cb>His Dark Materials\u003c/b> series. The three books hooked me, mostly because of the way they tackle such a gigantic, taboo subject under the guise of a fantastical children’s page-turner. \u003cb>The Golden Compass\u003c/b>, the first of the books, is the story of a world parallel to ours (think 19th century England with technological improvements) where bears speak, witches are good, and one’s soul is mirrored in an animal counterpart. A precocious girl named Lyra is on a mission to stop the sinister Magisterium from cutting away the souls of children. I was ambivalent, upon hearing that this story was being adapted into a film; overjoyed that such great work was to be given the attention it deserves and wary that those behind the project might desecrate it. Would that beloved world become another victim of book-to-movie disappointment?\u003c/p>\n\u003cp>Thankfully,\u003cb>The Golden Compass\u003c/b> isn’t the next \u003cb>Even Cowgirls Get the Blues\u003c/b>. The movie comes short of the book’s magnitude, but is still very much worth seeing. Pullman is said to have wanted Nicole Kidman as Mrs. Coulter ten years before this film went into production and it’s clear why. Kidman’s cold, yet alluring demeanor fits the character perfectly. At times throughout the movie, her beauty becomes distracting, but that’s part of Mrs. Coulter, a woman whose outer appearance distracts others from what’s within. Eva Green does just as well in her role as the witch, Serafina Pekkala. Aided by a slightly Scandinavian accent, she becomes as captivating as Pullman’s witches were written to be. As for the part of Lyra, 10,000 girls auditioned, but Dakota Blue Richards won the prized role. For a young girl with no acting experience, Richards rises to the challenge and does a rather convincing job, spitting her lines just as Lyra would.\u003c/p>\n\u003cp>The movie also delivers in the CGI magic department. The cityscapes and futuristic dirigibles are breathtaking and one scene in particular, a duel between two armored bears, is so precise that the audience erupted into spontaneous applause at its conclusion.\u003c/p>\n\u003cp>On the flip side, Chris Weitz, the man responsible for the painful \u003cb>American Pie\u003c/b>, drops the ball as director and writer of \u003cb>The Golden Compass\u003c/b>. Unlike the team behind the \u003cb>Lord of the Rings\u003c/b> trilogy, Weitz attempts to condense all the action and intrigue of the book into a time frame that proves too short, even going as far as to cut the last three chapters entirely. As a consequence, the epic events feel rushed and the richness of Pullman’s world is lost in a frenzy of exposition. The thinly veiled dialogue comes across as a barrage of easy explanations, answers the viewer could have deciphered given the time.\u003c/p>\n\u003cp>The most distracting issue with the film is the decision to blur any marks of religion from the malevolent Magisterium, a connection upon which the entire story depends. In interviews, Weitz does his best to talk around the issue, but what it comes down to is potential profit and the fear of ticking off Bible thumping right-wingers (who ended up becoming incensed with the watered down version regardless). This act of surrender isn’t a first for Hollywood by any means, but rarely is such a decision this sadly ironic; men in suits buying into the same narrow-mindedness the book urges against.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As is often true of book to movie adaptations, feel free to see the movie, but, if you’re looking for a real show, read the book.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Golden Compass\u003c/b> opens nationwide, Friday, December 7, 2007.\u003c/p>\n\n",
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"content": "\u003cp>You’ve got a lot of nerve to say you are my friend. You’ve got a lot of nerve to allow a production designer — alright, a filmmaker — carte blanche to explore the meaning and mystique of one of the key artists of the last century. You’ve got a lot of nerve to wank around with two and a quarter hours of my time and tell me nothing I don’t know. Hush a minute, I’m singing “Talking Todd Haynes Blues.”\u003c/p>\n\u003cp>I got my Dylan; you got yours. Ain’t no self-consciously arty movie by some New York movie man, be it Scorsese or Haynes, gonna change that. Can’t change that. Can’t change what you see and think when you hear “Stuck Inside of Mobile with the Memphis Blues Again” or “Knockin’ On Heaven’s Door” coming out of the speakers. I got my Dylan.\u003c/p>\n\u003cp>Some 25-year-old ain’t got no Dylan ‘t’all. He go see this here \u003cb>I’m Not There\u003c/b> movie and he still got no Dylan. Oh, he got a lover, an adulterer, a glib misogynist, an opportunist, a put-down artist, a toreador, a song thief. But he got no Dylan. He got Christian Bale. Got Heath Ledger. Cate Blanchett, adding to her amusing collection of 20th century impersonations. (Watch your back, Rich Little.) Richard Gere, winningly evincing enlightenment with a two-day beard.\u003c/p>\n\u003cp>It seems clear from his resume (\u003cb>Velvet Goldmine\u003c/b>,\u003cb>Far From Heaven\u003c/b>) that this fella Haynes likes to play dress-up. He likes prancing around London with Blanchett reliving the lost swinging ’60s, tossing in gratuitous Richard Lester and Julie Christie references. It proves just one thing: If you weren’t there, you can’t go there. My advice? \u003cb>Dont Look Back\u003c/b>.\u003c/p>\n\u003cp>The movie has its pleasures, most of which are aural. Its best sequence — the strongest blend of music and imagery — comes when Haynes plunges headlong into the Olde American Gothic so beautifully rendered in their day by The Band. In a scene that could have come from \u003ca href=\"http://www.imdb.com/title/tt0080855/\" target=\"offsite\" rel=\"noopener\">Heaven’s Gate\u003c/a>, the people of a roughhewn 1870s community face off in the town square against bullies hired by the moneymen. The eerie, delicious mystery conjured by Dylan and The Band in \u003cb>The Basement Tapes\u003c/b> provides the raw material for the soundtrack. It’s the most coherent, and by far the most eloquent passage in the movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gere channels Randolph Scott instead of Alan Ladd, standing straight as a man of character. It’s as if Haynes — inspired, for once — took the 1960s Dylan labeled the voice and conscience of a generation and dropped him into a wholly different era. And then the scene ends, and the wankery continues.\u003c/p>\n\u003cp>\u003cb>I’m Not There\u003c/b> is worth seeing, nonetheless, for its maker has bravely provided an abject lesson in the limitations of talent. Haynes has imagination to burn, but lacks the all-important kernel of genius. Genius, a fella needs to be reminded, is Dylan’s secret weapon. Absent genius, Haynes creates off-the-wall visuals that, like second-rate conceptual art, are inventive but curiously lack impact. Take the eye-catching shot of Blanchett-as-Dylan, bobbing above the trees like a kite with a rope tied ’round his foot. Neat image, but it has more punch in the trailer than it does in the movie.\u003c/p>\n\u003cp>People see me all the time and they just can’t remember how to act. Their minds are filled with big ideas, images and distorted facts. Yeah, I got my Dylan.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>I’m Not There\u003c/b> opens Wed., Nov. 21.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’ve got a lot of nerve to say you are my friend. You’ve got a lot of nerve to allow a production designer — alright, a filmmaker — carte blanche to explore the meaning and mystique of one of the key artists of the last century. You’ve got a lot of nerve to wank around with two and a quarter hours of my time and tell me nothing I don’t know. Hush a minute, I’m singing “Talking Todd Haynes Blues.”\u003c/p>\n\u003cp>I got my Dylan; you got yours. Ain’t no self-consciously arty movie by some New York movie man, be it Scorsese or Haynes, gonna change that. Can’t change that. Can’t change what you see and think when you hear “Stuck Inside of Mobile with the Memphis Blues Again” or “Knockin’ On Heaven’s Door” coming out of the speakers. I got my Dylan.\u003c/p>\n\u003cp>Some 25-year-old ain’t got no Dylan ‘t’all. He go see this here \u003cb>I’m Not There\u003c/b> movie and he still got no Dylan. Oh, he got a lover, an adulterer, a glib misogynist, an opportunist, a put-down artist, a toreador, a song thief. But he got no Dylan. He got Christian Bale. Got Heath Ledger. Cate Blanchett, adding to her amusing collection of 20th century impersonations. (Watch your back, Rich Little.) Richard Gere, winningly evincing enlightenment with a two-day beard.\u003c/p>\n\u003cp>It seems clear from his resume (\u003cb>Velvet Goldmine\u003c/b>,\u003cb>Far From Heaven\u003c/b>) that this fella Haynes likes to play dress-up. He likes prancing around London with Blanchett reliving the lost swinging ’60s, tossing in gratuitous Richard Lester and Julie Christie references. It proves just one thing: If you weren’t there, you can’t go there. My advice? \u003cb>Dont Look Back\u003c/b>.\u003c/p>\n\u003cp>The movie has its pleasures, most of which are aural. Its best sequence — the strongest blend of music and imagery — comes when Haynes plunges headlong into the Olde American Gothic so beautifully rendered in their day by The Band. In a scene that could have come from \u003ca href=\"http://www.imdb.com/title/tt0080855/\" target=\"offsite\" rel=\"noopener\">Heaven’s Gate\u003c/a>, the people of a roughhewn 1870s community face off in the town square against bullies hired by the moneymen. The eerie, delicious mystery conjured by Dylan and The Band in \u003cb>The Basement Tapes\u003c/b> provides the raw material for the soundtrack. It’s the most coherent, and by far the most eloquent passage in the movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gere channels Randolph Scott instead of Alan Ladd, standing straight as a man of character. It’s as if Haynes — inspired, for once — took the 1960s Dylan labeled the voice and conscience of a generation and dropped him into a wholly different era. And then the scene ends, and the wankery continues.\u003c/p>\n\u003cp>\u003cb>I’m Not There\u003c/b> is worth seeing, nonetheless, for its maker has bravely provided an abject lesson in the limitations of talent. Haynes has imagination to burn, but lacks the all-important kernel of genius. Genius, a fella needs to be reminded, is Dylan’s secret weapon. Absent genius, Haynes creates off-the-wall visuals that, like second-rate conceptual art, are inventive but curiously lack impact. Take the eye-catching shot of Blanchett-as-Dylan, bobbing above the trees like a kite with a rope tied ’round his foot. Neat image, but it has more punch in the trailer than it does in the movie.\u003c/p>\n\u003cp>People see me all the time and they just can’t remember how to act. Their minds are filled with big ideas, images and distorted facts. Yeah, I got my Dylan.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>I’m Not There\u003c/b> opens Wed., Nov. 21.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I remember the first time I heard the klaxon call of “London Calling.” The needle dropped on side one, track one of The Clash’s 1979 double record and there it was, like boots on pavement, a joyfully militant march rolling over the horizon — inevitable. The lyrics herald an apocalypse, “The ice age is coming/ The sun’s zooming in/ Meltdown expected/ The wheat is growing thin/ A nuclear error, but I have no fear/ Cause London is drowning and I — live by the river!” Joe Strummer’s hoarse voice was calling out to disaffected youth around the world, encouraging us to fall in step behind The Clash. It was 1979, “the only band that matters” was leaving England and entering their world domination phase.\u003c/p>\n\u003cp>\u003cb>Joe Strummer: The Future Is Unwritten\u003c/b> is a loving tribute to the punk icon who was the conscience in front of The Clash. A collage that brings together newsreel, home movie, animation, campfire interviews and clips from British films including \u003cb>1984\u003c/b> and \u003cb>Animal Farm\u003c/b>, Julien Temple’s biography captures the cut and paste construction of a persona, a band and a scene from the upheaval of London in the late sixties and early seventies.\u003c/p>\n\u003cp>Born in Ankara, Turkey, the son of a British diplomat, Strummer spent his early childhood in Iran, Egypt, Malawi and Mexico before his parents packed him and his older brother off to boarding school. Perhaps this early experience is what lead to the internationalism found in The Clash’s later albums, most especially their 1980 triple disc, \u003cb>Sandinista!\u003c/b>\u003c/p>\n\u003cp>Strummer is a restless character, an activist prone to wandering, who finds his way to a famous London squat and becomes a busker, a street musician, forming the rockabilly group, The 101ers to raise money for his community. The 101ers find success in the mid-seventies London music scene, but are blown off the stage one night when The Sex Pistols open for them. Shortly thereafter, Strummer is recruited into The Clash.\u003c/p>\n\u003cp>For me, this is the most interesting part of the documentary, because it illustrates how Strummer’s iconic punk rock persona was a construction, a creation of his own device and of his particular time. Strummer went from anarchist hippy to The Clash’s front man over night, by changing clothes and hairstyle, adopting a harder attitude and shunning his old friends. Funny thing is, The Clash always seemed more roots rock and rockabilly than most of their punk peers, including the Pistols, perhaps that is why they became so successful in America and beyond.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>The Future Is Unwritten\u003c/b> kicks into high gear when The Clash hit the big time. The vertigo of international touring is captured in the film’s increasingly frenetic pace. Temple’s collage begins to swirl, elements piling on as the band is buoyed by and begins to suffer under the weight of their huge international success. Ultimately, Strummer must face the paradox of being the righteous front man for “the only band that matters” and the crass reality of arena rock.\u003c/p>\n\u003cp>Were The Clash done in by their own political righteousness? Did their punk rock uniforms cease to fit? Did they expect the crowd to hear what they were saying above the roar? (During the first Gulf War, Strummer is horrified when he sees news footage of American soldiers writing “Rock the Casbah” on bombs destined for Iraq.) The whole cool school — Jarmusch, Depp, Bono, Flea, Scorcese, et al. — is in attendance to testify to the band’s importance.\u003c/p>\n\u003cp>After such mind-boggling mega success, Strummer must spend years in the wilderness processing what happened and what he will do next. In the end, the icon had to become human again. \u003cb>The Future Is Unwritten\u003c/b> builds up and then tears away multiple layers of image to find the man hiding deep inside.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Joe Strummer: The Future Is Unwritten\u003c/b> opens November 9, 2007.\u003c/p>\n\n",
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"excerpt": "I remember the first time I heard the klaxon call of \"London Calling.\" The needle dropped on side one, track one of The Clash's 1979 double record and there it was, like boots on pavement, a joyfully militant march rolling over the horizon -- inevitable. The lyrics herald an apocalypse, \"The ice age is coming/ The sun's zooming in/ Meltdown expected/ The wheat is growing thin/ A nuclear error, but I have no fear/ Cause London is drowning and I -- live by the river!\" Joe Strummer's hoarse voice was calling out to disaffected youth around the world, encouraging us to fall in step behind The Clash. It was 1979, \"the only band that matters\" was leaving England and entering their world domination phase.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I remember the first time I heard the klaxon call of “London Calling.” The needle dropped on side one, track one of The Clash’s 1979 double record and there it was, like boots on pavement, a joyfully militant march rolling over the horizon — inevitable. The lyrics herald an apocalypse, “The ice age is coming/ The sun’s zooming in/ Meltdown expected/ The wheat is growing thin/ A nuclear error, but I have no fear/ Cause London is drowning and I — live by the river!” Joe Strummer’s hoarse voice was calling out to disaffected youth around the world, encouraging us to fall in step behind The Clash. It was 1979, “the only band that matters” was leaving England and entering their world domination phase.\u003c/p>\n\u003cp>\u003cb>Joe Strummer: The Future Is Unwritten\u003c/b> is a loving tribute to the punk icon who was the conscience in front of The Clash. A collage that brings together newsreel, home movie, animation, campfire interviews and clips from British films including \u003cb>1984\u003c/b> and \u003cb>Animal Farm\u003c/b>, Julien Temple’s biography captures the cut and paste construction of a persona, a band and a scene from the upheaval of London in the late sixties and early seventies.\u003c/p>\n\u003cp>Born in Ankara, Turkey, the son of a British diplomat, Strummer spent his early childhood in Iran, Egypt, Malawi and Mexico before his parents packed him and his older brother off to boarding school. Perhaps this early experience is what lead to the internationalism found in The Clash’s later albums, most especially their 1980 triple disc, \u003cb>Sandinista!\u003c/b>\u003c/p>\n\u003cp>Strummer is a restless character, an activist prone to wandering, who finds his way to a famous London squat and becomes a busker, a street musician, forming the rockabilly group, The 101ers to raise money for his community. The 101ers find success in the mid-seventies London music scene, but are blown off the stage one night when The Sex Pistols open for them. Shortly thereafter, Strummer is recruited into The Clash.\u003c/p>\n\u003cp>For me, this is the most interesting part of the documentary, because it illustrates how Strummer’s iconic punk rock persona was a construction, a creation of his own device and of his particular time. Strummer went from anarchist hippy to The Clash’s front man over night, by changing clothes and hairstyle, adopting a harder attitude and shunning his old friends. Funny thing is, The Clash always seemed more roots rock and rockabilly than most of their punk peers, including the Pistols, perhaps that is why they became so successful in America and beyond.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>The Future Is Unwritten\u003c/b> kicks into high gear when The Clash hit the big time. The vertigo of international touring is captured in the film’s increasingly frenetic pace. Temple’s collage begins to swirl, elements piling on as the band is buoyed by and begins to suffer under the weight of their huge international success. Ultimately, Strummer must face the paradox of being the righteous front man for “the only band that matters” and the crass reality of arena rock.\u003c/p>\n\u003cp>Were The Clash done in by their own political righteousness? Did their punk rock uniforms cease to fit? Did they expect the crowd to hear what they were saying above the roar? (During the first Gulf War, Strummer is horrified when he sees news footage of American soldiers writing “Rock the Casbah” on bombs destined for Iraq.) The whole cool school — Jarmusch, Depp, Bono, Flea, Scorcese, et al. — is in attendance to testify to the band’s importance.\u003c/p>\n\u003cp>After such mind-boggling mega success, Strummer must spend years in the wilderness processing what happened and what he will do next. In the end, the icon had to become human again. \u003cb>The Future Is Unwritten\u003c/b> builds up and then tears away multiple layers of image to find the man hiding deep inside.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Joe Strummer: The Future Is Unwritten\u003c/b> opens November 9, 2007.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "King Corn",
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"content": "\u003cp>Did you know that your hair acts as a record of everything you’ve eaten? The new ITVS documentary, \u003cb>King Corn\u003c/b> opens with filmmakers Curt Ellis and Ian Cheney visiting a small lab to get their hair tested. They discover that they are made up primarily of corn. To many in the Bay Area, home of \u003ca href=\"http://en.wikipedia.org/wiki/Alice_Waters\" target=\"offsite\" rel=\"noopener\">Alice Waters\u003c/a> and \u003ca href=\"http://www.michaelpollan.com/\" target=\"offsite\" rel=\"noopener\">Michael Pollan\u003c/a>, this revelation comes as no surprise. Pick up a box or bag of any processed food and you will find high fructose corn syrup as one of its major ingredients, if not first on the list. Trouble is, most people don’t read these lists and cannot grasp that the elements of a McDonald’s happy meal are really just corn disguised as a hamburger, fries and a coke.\u003c/p>\n\u003cp>To learn more about how the American food system works, Ellis and Cheney move to Iowa to plant an acre of corn. The two start with a frozen field and end with an over-abundance of the grain. What’s surprising is that it’s not corn they can actually eat! It’s a hybrid version that has been genetically modified to contain more sugar and less protein than its natural ancestor and cannot be plucked from the stalk and steamed for dinner. It’s a type of corn that is only “edible” once it has been industrially processed. In fact, of the 92.9 million acres of corn planted in the U.S. in 2007 only 253,500 acres are sweet corn — corn on the cob. The rest will be used in ethanol, livestock feed and end up as the main ingredient in an increasingly large variety of food products. This corn just turns up everywhere.\u003c/p>\n\u003cp>\u003cb>King Corn\u003c/b> may have the “tell me something I don’t know” quality that many experienced with last year’s \u003cb>An Inconvenient Truth\u003c/b>. While it doesn’t make the film’s message any less important, this impression may be a function of the time it takes to produce such a documentary. The filmmakers began working on the subject in 2004, documenting a year in the Iowa cornfields and traveling the country to follow corn’s progress through the food chain. Over the intervening years, the dysfunction in America’s food industry has become more prominent in the mainstream media. Those of us addicted to NPR have heard volumes from Michael Pollan since last year’s release of his book, \u003cb>The Omnivore’s Dilemma\u003c/b>.\u003c/p>\n\u003cp>What’s interesting about \u003cb>King Corn\u003c/b> is the apparent disappearance of that famous mid-western common sense. The farmers involved in producing record crops of corn say themselves that they aren’t producing food; they’re producing crap. Yet they don’t seem to know what else to do. When did these farmers forget how to grow food? I thought that was the most touching part of the documentary. It made me think how folks once had pride in the food they grew and the products they produced, and this pride made American agriculture and industry the strongest in the world. Where is that pride now? Where is the common sense? When one sees mountains of corn piled up outside already glutted grain silos and understands the devastating risks and effects of a mono-culture, one wonders how the system got so warped.\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/Earl_Butz\" target=\"offsite\" rel=\"noopener\">Earl Butz\u003c/a>, the Nixon-era Agriculture Secretary responsible for creating many of the policies run amok today, shows up in \u003cb>King Corn\u003c/b>. It’s no wonder that Butz, who got his degree in Agriculture in 1932, at the height the Great Depression, created policies geared toward making America into a land of plenty. Because of these initiatives, Americans now spend a smaller percentage of their pay on food. It’s a good policy, if you believe that our economy thrives on folks having more ready cash to spend on other things — until you factor in the rising costs of health care.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It is confounding that more of us are unable to follow the link between this system of low-priced, low quality foods, the growing epidemic of obesity and diabetes in America, and the rising cost of health care. While we might save money on cheap food, we end up paying with our health. And how much are we REALLY saving? The price of corn is so low and the crop so abundant that the only way farmers end up turning a profit is through government subsidy. Makes you wonder about the contents of the \u003ca href=\"http://agriculture.senate.gov/\" target=\"offsite\" rel=\"noopener\">2007 Farm Bill\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>King Corn\u003c/b> opens Friday, November 2, 2007.\u003c/p>\n\n",
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"excerpt": "Did you know that your hair acts as a record of everything you've eaten? The new ITVS documentary, \u003cb>King Corn\u003c/b> opens with filmmakers Curt Ellis and Ian Cheney visiting a small lab to get their hair tested. They discover that they are made up primarily of corn. To many in the Bay Area, home of \u003ca href=\"http://en.wikipedia.org/wiki/Alice_Waters\" target=\"offsite\" rel=\"noopener\">Alice Waters\u003c/a> and \u003ca href=\"http://www.michaelpollan.com/\" target=\"offsite\" rel=\"noopener\">Michael Pollan\u003c/a>, this revelation comes as no surprise. Pick up a box or bag of any processed food and you will find high fructose corn syrup as one of its major ingredients, if not first on the list. Trouble is, most people don't read these lists and cannot grasp that the elements of a McDonald's happy meal are really just corn disguised as a hamburger, fries and a coke.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Did you know that your hair acts as a record of everything you’ve eaten? The new ITVS documentary, \u003cb>King Corn\u003c/b> opens with filmmakers Curt Ellis and Ian Cheney visiting a small lab to get their hair tested. They discover that they are made up primarily of corn. To many in the Bay Area, home of \u003ca href=\"http://en.wikipedia.org/wiki/Alice_Waters\" target=\"offsite\" rel=\"noopener\">Alice Waters\u003c/a> and \u003ca href=\"http://www.michaelpollan.com/\" target=\"offsite\" rel=\"noopener\">Michael Pollan\u003c/a>, this revelation comes as no surprise. Pick up a box or bag of any processed food and you will find high fructose corn syrup as one of its major ingredients, if not first on the list. Trouble is, most people don’t read these lists and cannot grasp that the elements of a McDonald’s happy meal are really just corn disguised as a hamburger, fries and a coke.\u003c/p>\n\u003cp>To learn more about how the American food system works, Ellis and Cheney move to Iowa to plant an acre of corn. The two start with a frozen field and end with an over-abundance of the grain. What’s surprising is that it’s not corn they can actually eat! It’s a hybrid version that has been genetically modified to contain more sugar and less protein than its natural ancestor and cannot be plucked from the stalk and steamed for dinner. It’s a type of corn that is only “edible” once it has been industrially processed. In fact, of the 92.9 million acres of corn planted in the U.S. in 2007 only 253,500 acres are sweet corn — corn on the cob. The rest will be used in ethanol, livestock feed and end up as the main ingredient in an increasingly large variety of food products. This corn just turns up everywhere.\u003c/p>\n\u003cp>\u003cb>King Corn\u003c/b> may have the “tell me something I don’t know” quality that many experienced with last year’s \u003cb>An Inconvenient Truth\u003c/b>. While it doesn’t make the film’s message any less important, this impression may be a function of the time it takes to produce such a documentary. The filmmakers began working on the subject in 2004, documenting a year in the Iowa cornfields and traveling the country to follow corn’s progress through the food chain. Over the intervening years, the dysfunction in America’s food industry has become more prominent in the mainstream media. Those of us addicted to NPR have heard volumes from Michael Pollan since last year’s release of his book, \u003cb>The Omnivore’s Dilemma\u003c/b>.\u003c/p>\n\u003cp>What’s interesting about \u003cb>King Corn\u003c/b> is the apparent disappearance of that famous mid-western common sense. The farmers involved in producing record crops of corn say themselves that they aren’t producing food; they’re producing crap. Yet they don’t seem to know what else to do. When did these farmers forget how to grow food? I thought that was the most touching part of the documentary. It made me think how folks once had pride in the food they grew and the products they produced, and this pride made American agriculture and industry the strongest in the world. Where is that pride now? Where is the common sense? When one sees mountains of corn piled up outside already glutted grain silos and understands the devastating risks and effects of a mono-culture, one wonders how the system got so warped.\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/Earl_Butz\" target=\"offsite\" rel=\"noopener\">Earl Butz\u003c/a>, the Nixon-era Agriculture Secretary responsible for creating many of the policies run amok today, shows up in \u003cb>King Corn\u003c/b>. It’s no wonder that Butz, who got his degree in Agriculture in 1932, at the height the Great Depression, created policies geared toward making America into a land of plenty. Because of these initiatives, Americans now spend a smaller percentage of their pay on food. It’s a good policy, if you believe that our economy thrives on folks having more ready cash to spend on other things — until you factor in the rising costs of health care.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It is confounding that more of us are unable to follow the link between this system of low-priced, low quality foods, the growing epidemic of obesity and diabetes in America, and the rising cost of health care. While we might save money on cheap food, we end up paying with our health. And how much are we REALLY saving? The price of corn is so low and the crop so abundant that the only way farmers end up turning a profit is through government subsidy. Makes you wonder about the contents of the \u003ca href=\"http://agriculture.senate.gov/\" target=\"offsite\" rel=\"noopener\">2007 Farm Bill\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>King Corn\u003c/b> opens Friday, November 2, 2007.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>History is what happened before we were born. At least that’s what I thought in elementary school. One of the weird things about getting older is watching the events that have occurred during my lifetime morph into subsequent generations’ history. Nothing brings that home quite like \u003cb>Have You Heard From Johannesburg: Apartheid and the Club of the West\u003c/b>, which revisits the U.S. anti-apartheid movement of the 1970s and ’80s. Didn’t that just happen? Isn’t it way too soon, and those events too fresh, to be the subject of a historical film? Or might we discern, by some stretch of the imagination, a kernel of relevance to the present?\u003c/p>\n\u003cp> It is this last question that seems to be fueling veteran East Bay filmmaker Connie Field’s fire. \u003cb>Have You Heard From Johannesburg: Apartheid and the Club of the West\u003c/b> is the fourth episode (and the first to be finished and publicly screened) in her stupendously bold six-part series recounting the international campaign to demolish and abolish South Africa’s racist apartheid system. Field clearly views the anti-apartheid movement as a milestone in citizen democracy, relations among nations and human morality — and one whose lessons have already been forgotten or whitewashed.\u003c/p>\n\u003cp>Let’s take a moment first to look at the little picture. Field’s major challenge in \u003cb>Have You Heard From Johannesburg: Apartheid and the Club of the West\u003c/b>\u003c/p>\n\u003cp>, given the number of people who were involved in the issue, their range of activities and the countless campuses and other points of conflict across the U.S., is developing momentum without sacrificing depth and context. Alas, it takes the film several minutes to draw us in, and the familiar strategy of blending archival television news footage and current interviews with the key participants is neither fresh nor exciting. We feel as if we’re watching history, not living it, and that makes all the difference.\u003c/p>\n\u003cp>Although our sympathies for the good guys are never in question, the doc fails to thrust us into the middle of the fight, which burst into the national consciousness when the Congressional Black Caucus and other groups took to the streets outside the South African embassy with the successful goal of being regularly arrested. (Part of the problem is that Field feels compelled to cut periodically to police riots and protest marches in Fredonia, so we don’t lose sight of the cause and who’s enduring the real suffering.) The torch was picked up by dozens of student groups, demanding that colleges divest their portfolios of investments in companies who did business with the apartheid regime. It is only when the battle comes to a head in Congress that \u003cb>Apartheid and the Club of the West\u003c/b> achieves high drama, with Ronald Reagan vetoing a bipartisan bill approving economic sanctions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In her previous, invaluable documentaries, \u003cb>The Life and Times of Rosie the Riveter\u003c/b> (1980) and \u003cb>Freedom On My Mind\u003c/b> (1994), Field did the great service of spotlighting progressive high points of America’s recent past that have been left out of textbooks (the essential work that women did in American factories during World War II) or systemically denied and revised by conservative pundits and politicians (the impact of students and other activists in the Civil Rights Movement of the ’60s). This is not a role we often speak of, the documentary maker as excavator and defender of historical truth. But it has become an essential one, as the selective memory of the Reagan Era (long before the Gipper was diagnosed with Alzheimer’s) has evolved into the bald lies and cynical denials of the Bush Administration.\u003c/p>\n\u003cp>Knowledge is one thing; action is another. It’s impossible to watch \u003cb>Have You Heard From Johannesburg: Apartheid and the Club of the West\u003c/b> and not think about the dearth of anti-Iraq War protests on college campuses, or the general lack of political opposition across the country. One gathers that Field’s main goal is to rouse an apathetic populace — to remind us that history happens on our watch, no matter when or where we live.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Have You Heard From Johannesburg: Apartheid and the Club of the West\u003c/b> opens Friday, Nov. 2, 2007 at the Roxie New College Film Center. Filmmaker Connie Field will be present after the 7 p.m. shows Friday and Saturday.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>History is what happened before we were born. At least that’s what I thought in elementary school. One of the weird things about getting older is watching the events that have occurred during my lifetime morph into subsequent generations’ history. Nothing brings that home quite like \u003cb>Have You Heard From Johannesburg: Apartheid and the Club of the West\u003c/b>, which revisits the U.S. anti-apartheid movement of the 1970s and ’80s. Didn’t that just happen? Isn’t it way too soon, and those events too fresh, to be the subject of a historical film? Or might we discern, by some stretch of the imagination, a kernel of relevance to the present?\u003c/p>\n\u003cp> It is this last question that seems to be fueling veteran East Bay filmmaker Connie Field’s fire. \u003cb>Have You Heard From Johannesburg: Apartheid and the Club of the West\u003c/b> is the fourth episode (and the first to be finished and publicly screened) in her stupendously bold six-part series recounting the international campaign to demolish and abolish South Africa’s racist apartheid system. Field clearly views the anti-apartheid movement as a milestone in citizen democracy, relations among nations and human morality — and one whose lessons have already been forgotten or whitewashed.\u003c/p>\n\u003cp>Let’s take a moment first to look at the little picture. Field’s major challenge in \u003cb>Have You Heard From Johannesburg: Apartheid and the Club of the West\u003c/b>\u003c/p>\n\u003cp>, given the number of people who were involved in the issue, their range of activities and the countless campuses and other points of conflict across the U.S., is developing momentum without sacrificing depth and context. Alas, it takes the film several minutes to draw us in, and the familiar strategy of blending archival television news footage and current interviews with the key participants is neither fresh nor exciting. We feel as if we’re watching history, not living it, and that makes all the difference.\u003c/p>\n\u003cp>Although our sympathies for the good guys are never in question, the doc fails to thrust us into the middle of the fight, which burst into the national consciousness when the Congressional Black Caucus and other groups took to the streets outside the South African embassy with the successful goal of being regularly arrested. (Part of the problem is that Field feels compelled to cut periodically to police riots and protest marches in Fredonia, so we don’t lose sight of the cause and who’s enduring the real suffering.) The torch was picked up by dozens of student groups, demanding that colleges divest their portfolios of investments in companies who did business with the apartheid regime. It is only when the battle comes to a head in Congress that \u003cb>Apartheid and the Club of the West\u003c/b> achieves high drama, with Ronald Reagan vetoing a bipartisan bill approving economic sanctions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In her previous, invaluable documentaries, \u003cb>The Life and Times of Rosie the Riveter\u003c/b> (1980) and \u003cb>Freedom On My Mind\u003c/b> (1994), Field did the great service of spotlighting progressive high points of America’s recent past that have been left out of textbooks (the essential work that women did in American factories during World War II) or systemically denied and revised by conservative pundits and politicians (the impact of students and other activists in the Civil Rights Movement of the ’60s). This is not a role we often speak of, the documentary maker as excavator and defender of historical truth. But it has become an essential one, as the selective memory of the Reagan Era (long before the Gipper was diagnosed with Alzheimer’s) has evolved into the bald lies and cynical denials of the Bush Administration.\u003c/p>\n\u003cp>Knowledge is one thing; action is another. It’s impossible to watch \u003cb>Have You Heard From Johannesburg: Apartheid and the Club of the West\u003c/b> and not think about the dearth of anti-Iraq War protests on college campuses, or the general lack of political opposition across the country. One gathers that Field’s main goal is to rouse an apathetic populace — to remind us that history happens on our watch, no matter when or where we live.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Have You Heard From Johannesburg: Apartheid and the Club of the West\u003c/b> opens Friday, Nov. 2, 2007 at the Roxie New College Film Center. Filmmaker Connie Field will be present after the 7 p.m. shows Friday and Saturday.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With due respect for the provocative lineup assembled every year by its stellar programmers, what attracts me to the \u003ca href=\"http://www.mvff.com/node/2633\" target=\"_offsite\" rel=\"noopener\">Mill Valley Film Festival\u003c/a> is the ambiance. The sunlight feels a little softer than it does in the city, and I bask in the scent of cashmere, coffee and corduroy. A day in Mill Valley, or even San Rafael (where the festival also unspools at the Smith Rafael Film Center) is like a mini-vacation, a respite from the petty ignominies of urban living. That sense of mellowness even extends inside the theaters, regardless of how downbeat the film might be. As unhappy and perilous as life occasionally appears onscreen, it seems a long, long way from the blissful valley. Perhaps that’s the allure of the suburbs, in a nutshell.\u003c/p>\n\u003cp>The dilemma at Mill Valley, even more than at most festivals, is whether to hone in on the films that don’t have distribution and may never play the Bay Area again. I usually suggest waiting to see the films that will get a theatrical release, but if you’re dying for a few words from Jennifer Jason Leigh (\u003cb>Margot at the Wedding\u003c/b>), Ben Affleck (\u003cb>Gone Baby Gone\u003c/b>), Todd Haynes (\u003cb>I’m Not There\u003c/b>) or Mira Sorvino and Terry George (\u003cb>Reservation Road\u003c/b>), then you’d best move quickly.\u003c/p>\n\u003cp>That said, herewith is a random sampling of the 30th annual festival that holds the promise of great pleasure and revelation.\u003c/p>\n\u003cp>\u003cb>Urban Existentialism\u003c/b>: Israeli cinema is enjoying a wave of acclaim, with prizes at all the major festivals in the last year. Fiction writers Etgar Keret and Shira Geffen took the trophy for best first feature at Cannes for \u003cb>Jellyfish\u003c/b>, a delicate, perchance bemused tale of three women whose lives overlap in Tel Aviv. Fans of Miranda July (\u003cb>Me and You and Everyone We Know\u003c/b>) will likely dig it.\u003c/p>\n\u003cp>\u003cb>Local Hero\u003c/b>: Tireless East Bay filmmaker Rob Nilsson has found an unlikely home at Mill Valley for his nocturnal urban fables. This year he premieres \u003cb>Go Together\u003c/b>, the last in his 9@Night series of digital features, which features a chunk of (fictional) plot involving Oakland’s Parkway Theatre. The lineup also includes the second installment in the series, \u003cb>Used\u003c/b>, which epitomizes Nilsson’s ongoing obsession with the plight and the passions of the marginalized urban underclass.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Eastern Euros\u003c/b>: Romania is the latest global hot spot for exciting, up-and-coming filmmakers. \u003cb>California Dreamin’ (Endless)\u003c/b> is a sobering political satire set in an around a NATO train held up by a stationmaster during the 1999 war in Kosovo. The film serves as a kind of eulogy to its gifted director, Cristian Nemescu, who was killed in a car accident during postproduction.\u003c/p>\n\u003cp>\u003cb>Tales of the Great Depression\u003c/b>: In 1933, Hollywood director William Wellman turned his attention to the trainloads of hungry adolescents and teenagers who hopped the rails looking for a job — or a least a meal. \u003cb>Wild Boys of the Road\u003c/b> still holds up as a cautionary adventure tale for all ages—and may offer a glimpse of the subprime, post-Bush economic future that awaits us.\u003c/p>\n\u003cp>\u003cb>Havana Calling\u003c/b>: Any film that alludes to Cuba has a built-in Bay Area appeal, even if it never gets near the island. Julie Gavras’ \u003cb>Blame It On Fidel\u003c/b> depicts a young girl’s coming of age in a deeply political French household in the ’70s. It’s always gratifying when a first feature displays a concern for history and politics; alas, it happens abroad far more frequently than among American filmmakers.\u003c/p>\n\u003cp>\u003cb>Murder, He Wrote\u003c/b>: In \u003cb>Knee Deep\u003c/b>, former local filmmaker Michael Chandler examines the complex dynamics surrounding a family farm in Maine. After long years and long hours of working the land, Josh Osborne expected it would be his one day. When his mother set about selling it to developers instead, he lost it. Chandler’s work furthers the current documentary approach of showing every side and every nuance, shifting the viewer’s sympathies with almost every cut.\u003c/p>\n\u003cp>\u003cb>Adventure Junkies\u003c/b>: I am leery of first-person documentaries, which all too often indulge rather than probe. Even if Indian filmmaker Gaurav Jani makes the same mistake — I haven’t yet seen his \u003cb>Riding Solo to the Top of the World\u003c/b> — the ride seems well worth it, nonetheless. It’s a motorcycle diary with such incredible vistas that I wouldn’t be the least bit surprised if it makes Mill Valley’s scenery seem prosaic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Mill Valley Film Festival runs Oct. 4-10, 2007. For tickets and information visit \u003ca href=\"http://www.mvff.com/node/2633\" target=\"_offsite\" rel=\"noopener\">mvff.com\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With due respect for the provocative lineup assembled every year by its stellar programmers, what attracts me to the \u003ca href=\"http://www.mvff.com/node/2633\" target=\"_offsite\" rel=\"noopener\">Mill Valley Film Festival\u003c/a> is the ambiance. The sunlight feels a little softer than it does in the city, and I bask in the scent of cashmere, coffee and corduroy. A day in Mill Valley, or even San Rafael (where the festival also unspools at the Smith Rafael Film Center) is like a mini-vacation, a respite from the petty ignominies of urban living. That sense of mellowness even extends inside the theaters, regardless of how downbeat the film might be. As unhappy and perilous as life occasionally appears onscreen, it seems a long, long way from the blissful valley. Perhaps that’s the allure of the suburbs, in a nutshell.\u003c/p>\n\u003cp>The dilemma at Mill Valley, even more than at most festivals, is whether to hone in on the films that don’t have distribution and may never play the Bay Area again. I usually suggest waiting to see the films that will get a theatrical release, but if you’re dying for a few words from Jennifer Jason Leigh (\u003cb>Margot at the Wedding\u003c/b>), Ben Affleck (\u003cb>Gone Baby Gone\u003c/b>), Todd Haynes (\u003cb>I’m Not There\u003c/b>) or Mira Sorvino and Terry George (\u003cb>Reservation Road\u003c/b>), then you’d best move quickly.\u003c/p>\n\u003cp>That said, herewith is a random sampling of the 30th annual festival that holds the promise of great pleasure and revelation.\u003c/p>\n\u003cp>\u003cb>Urban Existentialism\u003c/b>: Israeli cinema is enjoying a wave of acclaim, with prizes at all the major festivals in the last year. Fiction writers Etgar Keret and Shira Geffen took the trophy for best first feature at Cannes for \u003cb>Jellyfish\u003c/b>, a delicate, perchance bemused tale of three women whose lives overlap in Tel Aviv. Fans of Miranda July (\u003cb>Me and You and Everyone We Know\u003c/b>) will likely dig it.\u003c/p>\n\u003cp>\u003cb>Local Hero\u003c/b>: Tireless East Bay filmmaker Rob Nilsson has found an unlikely home at Mill Valley for his nocturnal urban fables. This year he premieres \u003cb>Go Together\u003c/b>, the last in his 9@Night series of digital features, which features a chunk of (fictional) plot involving Oakland’s Parkway Theatre. The lineup also includes the second installment in the series, \u003cb>Used\u003c/b>, which epitomizes Nilsson’s ongoing obsession with the plight and the passions of the marginalized urban underclass.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Eastern Euros\u003c/b>: Romania is the latest global hot spot for exciting, up-and-coming filmmakers. \u003cb>California Dreamin’ (Endless)\u003c/b> is a sobering political satire set in an around a NATO train held up by a stationmaster during the 1999 war in Kosovo. The film serves as a kind of eulogy to its gifted director, Cristian Nemescu, who was killed in a car accident during postproduction.\u003c/p>\n\u003cp>\u003cb>Tales of the Great Depression\u003c/b>: In 1933, Hollywood director William Wellman turned his attention to the trainloads of hungry adolescents and teenagers who hopped the rails looking for a job — or a least a meal. \u003cb>Wild Boys of the Road\u003c/b> still holds up as a cautionary adventure tale for all ages—and may offer a glimpse of the subprime, post-Bush economic future that awaits us.\u003c/p>\n\u003cp>\u003cb>Havana Calling\u003c/b>: Any film that alludes to Cuba has a built-in Bay Area appeal, even if it never gets near the island. Julie Gavras’ \u003cb>Blame It On Fidel\u003c/b> depicts a young girl’s coming of age in a deeply political French household in the ’70s. It’s always gratifying when a first feature displays a concern for history and politics; alas, it happens abroad far more frequently than among American filmmakers.\u003c/p>\n\u003cp>\u003cb>Murder, He Wrote\u003c/b>: In \u003cb>Knee Deep\u003c/b>, former local filmmaker Michael Chandler examines the complex dynamics surrounding a family farm in Maine. After long years and long hours of working the land, Josh Osborne expected it would be his one day. When his mother set about selling it to developers instead, he lost it. Chandler’s work furthers the current documentary approach of showing every side and every nuance, shifting the viewer’s sympathies with almost every cut.\u003c/p>\n\u003cp>\u003cb>Adventure Junkies\u003c/b>: I am leery of first-person documentaries, which all too often indulge rather than probe. Even if Indian filmmaker Gaurav Jani makes the same mistake — I haven’t yet seen his \u003cb>Riding Solo to the Top of the World\u003c/b> — the ride seems well worth it, nonetheless. It’s a motorcycle diary with such incredible vistas that I wouldn’t be the least bit surprised if it makes Mill Valley’s scenery seem prosaic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Mill Valley Film Festival runs Oct. 4-10, 2007. For tickets and information visit \u003ca href=\"http://www.mvff.com/node/2633\" target=\"_offsite\" rel=\"noopener\">mvff.com\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Some of Keith Fraser’s best friends are birds. Join him at the famous Loch Lomond bait shop in San Rafael CA as he distributes Christmas presents to some of his favorites: snowy egrets Wee Willie and Wee Willie Junior, great blue herons Nasty and Nasty Junior, and his closest buddy, an endearing Heermann’s gull named Ahab. \u003c/p>\n\u003cp>Keith Fraser and his feathered friends have appeared on Bay Area Back Roads, Evening Magazine, Tom Stienstra’s Great Outdoors, and Judy Irving’s short film, \u003cb>Salt Pond Habitat Restoration\u003c/b>. Judy’s award-winning feature documentary, \u003cb>The Wild Parrots of Telegraph Hill\u003c/b>, is in international distribution. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Everything I know I learned from documentaries. You think I’m kidding, don’t you? Watching movies is less time-consuming than reading, entails less initiative than doing research and requires fewer social skills than talking to experts. But those productive hours are becoming a thing of the past. The amount of actual, factual information in the typical documentary, like the amount of nutrition in the average acre of bio-engineered crops, is steadily decreasing. The goal of most doc makers is no longer to provide data or context, but to capture and convey a thick slice of experience. Using tiny portable camcorders that put the viewer smack in the middle of the action, they deliver a vicarious thrill — a rush of danger, of voyeurism — that’s stimulating but ultimately safe. It’s irresistible, I have to admit, and nobody understands that better than the \u003ca href=\"http://www.sfindie.com/\" target=\"offsite\" rel=\"noopener\">San Francisco Documentary Film Festival\u003c/a>, or DocFest.\u003c/p>\n\u003cp>Now in its sixth year and stretching 13 rock ‘em, sock ‘em days, Docfest offers a zippy blend of politics, music, social issues and youth-oriented subcultures. The good news is that DocFest promotes documentaries as a vibrant, irreverent form of entertainment to a younger demographic, blasting the notion of educational films to smithereens. There’s no room for anything approximating — watch it, I’m about to blaspheme — the obsessively measured and utterly somnambulant musings of Ken Burns. The downside, though, is often a lack of craft and an indifference to aestheticism, as if rawness and spontaneity were the only measures of authenticity.\u003c/p>\n\u003cp>As you can tell, I have plenty of gripes and concerns about the current state of documentary. At the same time, I’m ecstatic that so many people are now willing to pay to see a doc in a theater, and that DocFest is a bona fide success story. So let’s get a taste of the flicks on display — or the experiences on offer — in this year’s program.\u003c/p>\n\u003cp>\u003cb>Date Movie:\u003c/b>\u003cbr>\u003cb>Golden Days\u003c/b> follows an up-and-coming rock band, \u003ca href=\"http://www.thedamnwells.com/\" target=\"offsite\" rel=\"noopener\">the Damnwells\u003c/a>, into the studio to make their major-label debut. An astute, well-managed foursome, they nonetheless have little choice but to cede control of a chunk of their lives to the corporate masters, with unfortunate results. Front man Alex Dezen is a talented, articulate fellow with sufficient charisma to sustain a one-hour film; director Chris Suchorsky falls in love with his subject, alas, and holds us captive for 95 minutes.\u003c/p>\n\u003cp>\u003cb>Foodie Heaven:\u003c/b>\u003cbr>\u003cb>Eat at Bill’s: Life in the Monterey Market\u003c/b>. Lisa Brenneis’ winning portrait of the beloved Berkeley produce bazaar encompasses its regular customers (including chefs such as Michael Wild and author Michael Pollan, a tall, lanky, long-fingered character who’d make a fine inspiration for stop-motion animator Henry Selick) as well as several of the small, premium growers that it supports. But the pulse of the film is smiling Bill Fujimoto, who has run the market for some 25 years with a tireless, benevolent zeal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Classic Camp:\u003c/b>\u003cbr>\u003cb>American Scary\u003c/b> — John Hudgens has diligently compiled a loving tribute to the gloriously undignified fraternity (including a handful of women) of TV horror hosts. This is mostly a talking heads doc, augmented with just enough clips of the no-budget, anything goes improvisation that’s the hallmark of the “profession.” For all its campy fun, \u003cb>American Scary\u003c/b> is a kind of eulogy for a vanishing age of local color and homegrown talent. One comes to realize that a key component of the malling of America is cable television’s saturation.\u003c/p>\n\u003cp>\u003cb>Genuine Frightfest:\u003c/b>\u003cbr>\u003cb>Radiant City\u003c/b> — The gifted Calgary narrative filmmaker Gary Burns (\u003cb>waydowntown\u003c/b>) examines the phenomenon of suburban sprawl through a panoply of arch academics and one typically overstretched family. Burns brings a droll Canadian wit to his sobering study, slightly alleviating my acute case of the heebie-jeebies. As a lifelong city kid, I got the creeps thinking of all the hours some people spend in their cars.\u003c/p>\n\u003cp>\u003cb>Local Hero:\u003c/b>\u003cbr>If you missed \u003cb>Audience of One\u003c/b> when it played the S.F. International Film Festival, here’s another chance. You’ll laugh, you’ll cry, you’ll thank God for the gift of knowing one’s limitations as Michael Jacobs follows Pentecostal minister Richard Gazowsky’s loony crusade to make an expensive, religious-themed feature film.\u003c/p>\n\u003cp>\u003cb>Dancing With the Stars:\u003c/b>\u003cbr>\u003cb>Manufacturing Dissent\u003c/b> — I confess I’ve not seen Debra Melnyk and Rick Caine’s unpredictable doc about The Human Lightning Rod, Michael Moore. I do know the filmmakers told interviewers they did not set out to do a hit piece, but followed the trail where it took them. In Moore’s case, that was bound to lead to contradictions and the “creative interpretation of reality” (to cite the definition of documentary favored by the great British filmmaker \u003ca href=\"http://en.wikipedia.org/wiki/John_Grierson\" target=\"offsite\" rel=\"noopener\">John Grierson\u003c/a>).\u003c/p>\n\u003cp>\u003cb>Havana Calling:\u003c/b>\u003cbr>San Franciscans have a fascination with Cuba, where invention and creativity thrive despite (or because of) despotism at the top. I can’t report on \u003cb>The Power of Community: How Cuba Survived Peak Oil\u003c/b> or \u003cb>Luchando\u003c/b>, a portrait of four gay hustlers, other than to observe that one film appears to salute the “good” Castro and one spotlights the difficulties of living with “bad” Castro. I expect I’ll check out both docs, because there are some things you just can’t glean from books or magazines.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SF DocFest runs Sept. 28-Oct. 10, 2007 at the Roxie Film Center at New College. \u003ca href=\"http://www.sfindie.com/catalog/\" target=\"offsite\" rel=\"noopener\">For tickets and information\u003c/a> visit sfindie.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Everything I know I learned from documentaries. You think I’m kidding, don’t you? Watching movies is less time-consuming than reading, entails less initiative than doing research and requires fewer social skills than talking to experts. But those productive hours are becoming a thing of the past. The amount of actual, factual information in the typical documentary, like the amount of nutrition in the average acre of bio-engineered crops, is steadily decreasing. The goal of most doc makers is no longer to provide data or context, but to capture and convey a thick slice of experience. Using tiny portable camcorders that put the viewer smack in the middle of the action, they deliver a vicarious thrill — a rush of danger, of voyeurism — that’s stimulating but ultimately safe. It’s irresistible, I have to admit, and nobody understands that better than the \u003ca href=\"http://www.sfindie.com/\" target=\"offsite\" rel=\"noopener\">San Francisco Documentary Film Festival\u003c/a>, or DocFest.\u003c/p>\n\u003cp>Now in its sixth year and stretching 13 rock ‘em, sock ‘em days, Docfest offers a zippy blend of politics, music, social issues and youth-oriented subcultures. The good news is that DocFest promotes documentaries as a vibrant, irreverent form of entertainment to a younger demographic, blasting the notion of educational films to smithereens. There’s no room for anything approximating — watch it, I’m about to blaspheme — the obsessively measured and utterly somnambulant musings of Ken Burns. The downside, though, is often a lack of craft and an indifference to aestheticism, as if rawness and spontaneity were the only measures of authenticity.\u003c/p>\n\u003cp>As you can tell, I have plenty of gripes and concerns about the current state of documentary. At the same time, I’m ecstatic that so many people are now willing to pay to see a doc in a theater, and that DocFest is a bona fide success story. So let’s get a taste of the flicks on display — or the experiences on offer — in this year’s program.\u003c/p>\n\u003cp>\u003cb>Date Movie:\u003c/b>\u003cbr>\u003cb>Golden Days\u003c/b> follows an up-and-coming rock band, \u003ca href=\"http://www.thedamnwells.com/\" target=\"offsite\" rel=\"noopener\">the Damnwells\u003c/a>, into the studio to make their major-label debut. An astute, well-managed foursome, they nonetheless have little choice but to cede control of a chunk of their lives to the corporate masters, with unfortunate results. Front man Alex Dezen is a talented, articulate fellow with sufficient charisma to sustain a one-hour film; director Chris Suchorsky falls in love with his subject, alas, and holds us captive for 95 minutes.\u003c/p>\n\u003cp>\u003cb>Foodie Heaven:\u003c/b>\u003cbr>\u003cb>Eat at Bill’s: Life in the Monterey Market\u003c/b>. Lisa Brenneis’ winning portrait of the beloved Berkeley produce bazaar encompasses its regular customers (including chefs such as Michael Wild and author Michael Pollan, a tall, lanky, long-fingered character who’d make a fine inspiration for stop-motion animator Henry Selick) as well as several of the small, premium growers that it supports. But the pulse of the film is smiling Bill Fujimoto, who has run the market for some 25 years with a tireless, benevolent zeal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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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",
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"source": "American Public Media"
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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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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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