Friday, July 20, 2012

SF Jewish Film Festival 2012

The 32nd San Francisco Jewish Film Festival (SFJFF32) opened at the Castro Theatre last night with the world premiere of Roberta Grossman's fun-sounding documentary Hava Nagila (The Movie). It was a tough personal choice between that and seeing Todd Solondz in person with his new film, Dark Horse, at the SF Film Society Cinema. I opted for the latter, given that Hava Nagila will have three more screenings during the festival, which runs through August 6. The fest resumes tomorrow morning at the Castro Theatre for a six-day residency before branching out into the East, North and South Bay Area. This year's roster boasts 44 narrative and documentary features and here's a glance at the ones I'm most looking forward to.

A sidebar of SFJFF32 is Jews & Tunes: Spotlight on Music. Besides Hava Nagila, I'm most anticipating bio-doc A.K.A. Doc Pomus, which will be the San Francisco closing night film on Thursday, July 26. Doc Pomus was the stage name for Jerome Felder, a polio-stricken Brooklyn-born Jew who would write the lyrics for some of the best known songs of the early rock era, including "Save the Last Dance For Me" and "Viva Las Vegas." I've also heard great things about Under African Skies, which looks back at Paul Simon's "Graceland" album and its troubled history during the height of international anti-apartheid sentiment. The film won the audience award at this year's SXSW and is directed by esteemed veteran documentary filmmaker Joe Berlinger (Paradise Lost trilogy, Metallica: Some Kind of Monster). I have friends who are rabid fans of Australian-born singer-songwriter Ben Lee and they're insisting I not miss Ben Lee: Catch My Disease, especially since Lee himself is expected to attend the July 25 screening at the Castro Theatre. Other films in the Jews in Tunes sidebar include documentary portraits of a flamenco guitarist (Gypsy Davy), a violin virtuoso (God's Fiddler) and a gay, African American, Orthodox Jewish hip-hop artist (Y-Love).

My favorite film of 2010 was Joann Sfar's Gainsbourg: A Heroic Life, a richly-conceived, mythical fantasia about the life of singer/songwriter Serge Gainsbourg. It marked the directing debut of French graphic novelist Sfar and now his creative process can be observed in Sam Ball's documentary, Joann Sfar Draws from Memory. A fascinating seven-minute excerpt is available to preview at Vimeo. Relatedly, the most curious SFJFF32 omission is surely the animated feature The Rabbi's Cat, which Sfar adapted and directed from his own graphic novel. Now I really regret having missed it at the East Bay Jewish Film Festival earlier in the year.

Two years ago, the SFJFF Freedom of Expression Award was given to Palestinian-Israeli writer Sayed Kashua, writer-creator of the groundbreaking and poignant Israeli TV sit-com Arab Labor. I so enjoyed the three episodes which screened during that festival, I eventually watched all of Seasons 1 & 2 via Netflix. I plan to be there again when SFJFF32 presents several episodes from Arab Labor: Season 3.

This year's SFJFF Freedom of Expression Award goes to none other than actor Elliott Gould, who will appear for an on-stage interview at the Castro Theatre on Sunday, July 22, followed by a screening of his latest film, Dorfman. Gould must really enjoy spending time in the Bay Area, having accompanied screenings of M*A*S*H back in February at the Castro Theatre and at the Rafael Film Center last November.

Despite receiving extremely mixed reviews when it premiered at this year's Cannes Film Festival, I have no intention of missing Laurent Bouzereau's Roman Polanski: A Film Memoir. This documentary portrait was filmed during the director's time under house arrest in Gstaad, Switzerland and consists of an extended conversation between Polanski and Bouzereau that's peppered with film clips. Bouzereau is a personal friend of Polanski and critics have said the film goes beyond fawning (Variety's Rob Nelson called it "supremely subservient.")

Earlier this year I saw the 2011 narrative feature Free Men, which was about Arab participation in the French Resistance movement of WWII. I was particularly struck by the performance of actor Mahmoud Shalaby as Salim Halali, a real-life, celebrated Algerian singer who was clandestinely both gay and Jewish. I later realized I'd also seen Shalaby's impressive 2009 screen debut in Jaffa (SFJFF30). Shalaby has made two more movies since Free Men and they're both in this year's festival. In A Bottle in the Gaza Sea he stars as a young Gaza Palestinian who takes up e-mail correspondence with an Israeli girl. The formidable Palestinian actress Hiam Abbass (Free Zone, Lemon Tree) portrays his mother. Shalaby also has a supporting role in the festival's Centerpiece Film, Lorraine Lévy's The Other Son, a babies-switched-at-birth drama that stars one of my favorite French actresses, Emmanuelle Devos (La Moustache, A Christmas Tale).

Familiar acting talent is what draws me to three more SFJFF32 films. In Alain Tasma's 2010 TV movie Broken, Anaïs Demoustier (Living on Love Alone, The Snows of Kilimanjaro) stars as a idealistic young teacher in a rough banlieue school. The script was written by Emmanuel Carrère (La Moustache, I'm Glad My Mother is Alive) and it features revered French actress, Ariane Ascaride (wife and muse to director Robert Guédiguian). Another French film, The Day I Saw Your Heart, stars Mélanie Laurent (Inglourious Basterds, Beginners) and Michel Blanc (Monsieur Hire, The Witnesses) as a daughter and father in a contentious relationship. While reviews praise their performances, opinions of the film itself are considerably less enthusiastic. Then the great Israeli actress Ronit Elkabetz (The Band'sVisit, Late Marriage) stars in Invisible, about the present-day ramifications of a 1970's serial rapist upon the lives of two women.

In addition to the documentaries in the Jews & Tunes sidebar, I've got my eye on a few others in this year's festival. The most intriguing to me is Arnon Goldfinger's The Flat, in which the filmmaker discovers evidence of familial connections to high-ranking Nazis in his recently deceased grandmother's Tel Aviv apartment. The film won Best Documentary at the Jerusalem Film Festival, an editing prize at Tribeca, and its SFJFF screenings are sponsored by my good friend Michael Ehrenzweig, a longtime supporter of this festival. I'm also hoping to check out Ameer Got His Gun, which profiles a young Arab volunteer who joins the Israeli military, Besa: The Promise, about Albania's role in sheltering Jews during WWII, and The Kingdom of Survival, a discussion of "radical alternative perspectives on the 21st century and the state of democracy in America," featuring interviews with Noam Chomsky and Sasha Lilley.

Finally, there are three films in the SFJFF32 line-up which I've caught at other festivals and all are recommended. Israeli director Eran Kolirin's The Exchange follows up 2007's arthouse charmer The Band's Visit with something considerably more enigmatic. This was one of the more popular films from this year's San Francisco International Film Festival (my capsule review is here). At that same festival I saw Ra'anan Alexandrowicz' Sundance-winning, Errol Morris-influenced documentary The Law in These Parts, which considers every aspect of the separate and unequal laws governing Palestinians in the Occupied Territories. Then from last year's Mill Valley Film Festival there's Restoration, a compelling Israeli drama about efforts to rescue one family's ailing antique furniture restoration business

Friday, July 6, 2012

17th San Francisco Silent Film Festival

Just four months after blowing everyone away with the awesome spectacle that was Abel Gance's Napoleon, the San Francisco Silent Film Festival (SFSFF) returns for its 17th annual event at the Castro Theatre from July 12 to 15. When the line-up was first announced I heard a few people grouse about it having a "greatest hits" vibe. But the reality is only two of this year's 17 programs are repeats – Wings from back in 1999 and Pandora's Box, shown in 2003. Personally, I've never seen any of them on a big screen and am therefore completely psyched. Big Names from the silent era are much in evidence, both in front of the camera (Clara Bow, Emil Jannings, Felix the Cat, Pola Negri, Louise Brooks, Douglas Fairbanks, Roland Colman, Buster Keaton) and behind it (Ernst Lubitsch, Victor Fleming, Georg Wihelm Pabst, Joseph von Sternberg, William A. Wellman). There are several tempting, unfamiliar rarities as well. I searched for films I might skip out on – if only to get a breath of air and a decent meal – but came up empty handed.

An issue that's sure to be a subject of discussion this year – and it's one the festival isn't shying away from – is that of digital exhibition. SFSFF dipped its toe in the digital waters two years ago with the restoration of Metropolis, saying it was the only option available. This year they're wading ankle deep with two DCP presentations, Lubitsch's The Loves of Pharaoh and Wellman's Wings. The latter is SFSFF17's opening night film, which is clearly making a statement. The great digital vs. 35mm divide is also the focus of this year's Amazing Tales from the Archives presentation (see below for details). So no matter which side you're on – if a side needs to be taken at all – there should be plenty here to chew on.

Plain and simple, if you've never attended the San Francisco Silent Film Festival, you owe yourself the experience of seeing a silent film the way it was meant to be seen, in a landmark 1922 movie palace with accomplished live musical accompaniment. What follows is a stroll through SFSFF17's line-up with some hopefully interesting facts, figures, gossip and trivia – a bit more than what's available on the festival's website and brochure, but considerably less than what we'll find in the scholarly essays that appear in the complementary program guide during the festival.

Thursday, July 12

7:00 P.M. Wings (1927, USA, dir. William A. Wellman)
Until The Artist, this drama about two WWI pilots in love with the same girl was technically the only silent film to win the Best Picture Oscar®, or rather, Most Outstanding Production. While I've never seen Wings, I am familiar with the famously heartbreaking kiss between Buddy Rogers and Richard Arlen (both of whom served as pallbearers at the 1965 funeral of Wings co-star Clara Bow). Gary Cooper, who turns up in a supporting role as a doomed pilot, began a much-publicized affair with Bow during the shoot. The film seems best remembered for its aerial stunt photography – with director William Wellman having been hired specifically for his WWI aviator experience. None other than William Wellman Jr., author of "The Man and His Wings: William A. Wellman and the Making of the First Best Picture," will introduce this screening. The Mont Alto Motion Picture Orchestra will accompany, with Ben Burtt providing live Foley effects. Burtt is a nine-time Oscar® nominee for Best Sound/Sound Editing, with wins for ET: The Extra-Terrestrial and Indiana Jones and the Last Crusade. Following the screening, a festive opening night party will be happening at the top-floor loft of The McRoskey Mattress Company.

One of the hottest topics amongst cinephiles this spring was the "This is DCP" series at NYC's Film Forum, where several digitally restored classics, including Five Easy Pieces, The Red Shoes and Rear Window, were screened in DCP, or "digital cinema package" format. The highlight was a comparative 35mm vs. DCP, side-by-side showing of Dr. Strangelove. This series was the undertaking of Grover Crisp, Sony Pictures executive vice president in charge of asset management, film restoration and digital mastering. I'm excited Crisp will be at the Castro performing another side-by-side demonstration for SFSFF audiences. (For an in-depth report on the Film Forum series, check out Miranda Popkey's piece at Capital New York). Also on the program will be Andrea Kalas, vice president of archives at Paramount Pictures, who will discuss the restoration of Wings, which will have opened the festival the previous evening in DCP. Admission is free.

1:00 P.M. Little Toys (1933, China, dir. Sun Yu)
Director Sun Yu is known for a string of socially conscious dramas made in the silent era's twilight years. In 2009 the festival brought us Sun's 1932 Wild Rose and now follows up with this decade-spanning epic about the calamities which befall a rural toymaker during a time of political upheaval. Sun made the movie to rouse nationalism following Japan's invasion of Manchuria. It stars two of China's most popular actresses of the 1930's playing mother/daughter protagonists; Lingyu Ruan (who we saw at two years ago in A Spray of Plum Blossoms) and Li Lili (Wild Rose).

4:00 P.M. The Loves of Pharaoh (1922, Germany, dir. Ernst Lubitsch)
This historical melodrama was Lubitsch's last German production, a Hollywood calling card to prove he could indeed helm large-scale epics boasting 6,000 extras, lavish costumes and gargantuan sets. The great Emil Jannings (The Last Laugh, The Blue Angel) stars as an Egyptian ruler who spurns an offer of marriage to the Ethiopian king's daughter and thereby ignites a war by choosing the king's beloved slave girl instead. Long considered a lost film, this new digital restoration – assembled from fragments found in far-flung places – was executed by the same company (Alpha Omega GmbH) that resurrected Fritz Lang's complete Metropolis. Ten additional minutes are still thought to be missing. And who best to accompany this grandiose presentation than the incomparable Dennis James on the Castro Theatre's Mighty Wurlitzer. The photograph below is one of only 17 stunning, high resolution stills from The Loves of Pharaoh to be found on the festival's Press Room page.

7:00 P.M. Mantrap (1926, USA, dir. Victor Fleming)
Clara Bow makes her second appearance at 2012's festival in the film she claimed her personal favorite. Released shortly before It – the movie that gave her a moniker – Bow got rave reviews as the man-eating Minneapolis manicurist who strays from her backwoodsman husband and aims straight for a famous divorce lawyer. The story is adapted from a Sinclair Lewis novel, with Bow's character considerably softened, and the titular Mantrap is actually a Canadian boondocks town where the action is set. Cinematography is by the great DP James Wong Howe and the film's intertitles are said to be quite witty. Mantrap also witnessed the beginning of a hot and heavy affair between Bow and the film's director Victor Fleming, who would of course go on to direct The Wizard of Oz and Gone with the Wind. Noted film critic Michael Sragow, who wrote "Victor Fleming, an American Movie Master," will introduce the screening. Stephen Horne accompanies on grand piano.

Mantrap will be preceded by Twin Peaks Tunnel, a recently restored short about the construction of one of the world's longest railway tunnels – one that just happens to begin right outside the festival's doorstep. Parts of the film are available to watch on YouTube and there's some terrific footage of Castro and Market Streets circa 1918.

9:15 P.M. The Wonderful Lie of Nina Petrovna (1929, Germany, dir. Hanns Schwarz)
Each year SFSFF engages a contemporary filmmaker to choose a film from the line-up and present it as a Director's Pick – with past pickers ranging from Alexander Payne to Terry Zwigoff. The Bay Area's Philip Kaufman has selected this tale of a St. Petersburg courtesan who leaves her officer lover for the affections of a lowly lieutenant. It's considered the best of Austrian director Hanns Schwarz' 24 films, with one ardent IMDb user gushing "it's more poignant and visually dazzling than Ophuls, more erotic and atmospheric than Sternberg, with a camera more sinuously alive than Murnau or Lang." The film stars Brigitte Helm as Nina Petrovna, two years after her mesmerizing screen debut in Metropolis and one year after starring in Marcel L'Herbier's L'Argent (SFSFF 2011 Winter Event). Accompaniment will be provided by the Mont Alto Motion Picture Orchestra.

Saturday, July 14

10:00 A.M. The Irrepressible Felix the Cat! (1924-1928, USA, dir. Otto Messmer & Pat Sullivan)
Felix the Cat was the first cartoon character with a name famous enough to draw people into movie theaters. He was so iconic that Charles Lindbergh flew across the Atlantic with a Felix doll and Aldous Huxley wrote the cartoon proved "what the cinema can do better than literature or spoken drama is to be fantastic." These cartoons were also noted for integrating social issues and current events into their storylines. The festival will present seven Felix animated shorts, all but one from his days at the Educational Pictures distribution company. Leonard Maltin and film scholar Russell Merritt will introduce the screenings, which will be accompanied by Donald Sosin and Toychestra, an all-woman experimental music ensemble from Oakland. And remember, as with all SFSFF screenings, children under 10 are admitted free!

12:00 P.M. The Spanish Dancer (1923, USA, dir. Herbert Brenon)
Pola Negri was one of the biggest stars of the silent era and the first European actor to be lured to Hollywood (by Paramount in 1922). Her German mentor, Ernst Lubitsch, had been the first European director to cross over. I haven't seen any of her movies so I'm excited to experience this, her third American film and first big spectacle. Based on a Victor Hugo novel, it's the story of a gypsy singer who becomes involved in 17th century Spanish court intrigue. Negri's co-stars include the handsome Antonio Moreno as her lover and Wallace Beery as the King of Spain!? Adolphe Menjou also has a small role. The print we'll be seeing is a new restoration done by the Dutch EYE Film Institute, which also restored last year's Lois Weber film, Shoes. Rob Byrne, who worked on the restoration, will introduce and Donald Sosin accompanies on grand piano.

2:30 P.M. The Canadian (1926, USA, dir. William Beaudine)
This is a remake of a 1917 film, The Land of Promise, which bears the name of the Somerset Maugham play on which both films are based. A destitute woman journeys to the wilds of Canada to live with her brother and then marries a rough homesteader (actor Thomas Meighan, who played the same part in both movies) to evade her sister-in-law's ire. (Yes, it does sound a lot like Lillian Gish's 1928 vehicle The Wind (SFSFF15). Director William Beaudine was known for his efficiency and prolificacy, directing nearly 30 silents. He later became known for making series films like The East Side Kids and The Bowery Boys. But for me he's the guy who helmed notorious 1945 sex-ed feature Mom and Dad for exploitation pioneer Kroger Babb. Stephen Horne accompanies on grand piano.

Preceding the screening of The Canadian, the 2012 SF Silent Film Festival Award will be presented to the Telluride Film Festival "for their longtime dedication to the preservation and exhibition of silent film." Fest directors Tom Luddy, Gary Meyer and Julie Huntsinger will be there to receive the honor.

5:00 P.M. South (1919, UK, dir. Frank Hurley)
The festival follows last year's The Great White Silence with another Antarctic expedition documentary, South. It's an assemblage of photos and film footage taken by Australian photographer-adventurer Frank Hurley, when he accompanied Ernest Shackleton on that ill-fated trans-Antarctic trip aboard the ship Endurance. These materials exist today only because the intrepid Hurley dove into icy Antarctic waters ("stripped to the waist" as he wrote in his diary) to rescue them from the sinking ship. If you saw the 2000 documentary The Endurance: Shackleton's Legendary Antarctic Expedition, you've already been exposed to Hurley's work, which is said to have changed expedition photography forever. The festival will screen a new restoration by the British Film Institute with original tints and toning. Actor Paul McGann ("Dr. Who," Withnail & I) will read from Shackleton's letters accompanied by pianist Stephen Horne.

7:00 P.M. Pandora's Box (1929, USA, dir. Georg Wilhelm Pabst)
Of all the programs in this year's festival, this tops my list – a new frame-by-frame restoration of one of the great films of all time, starring iconic Louise Brooks as cinema's quintessential femme fatale. I'm embarrassed that I've never seen it on a big screen, but am happy I've saved the experience for this opportune moment. Diary of a Lost Girl (1928), another memorable Pabst/Brooks collaboration, played the festival two years ago. This new restoration – paid for by good old Hugh Hefner – was produced by San Francisco-based Angela Holm and David Ferguson, who will introduce the film with some on-screen 'before and after' comparisons. Sweden's Matti Bye Ensemble will provide accompaniment for this, the festival's 2012 Centerpiece Presentation.

10:00 P.M. The Overcoat (1926, USSR, dir. Grigori Kozintsev & Leonid Trauberg)
It's become a SFSFF tradition to reserve Saturday's final screening as a Late Show slot for silent cinema's off-kilter output. Past selections have included Häxan: Witchcraft through the Ages, Aelita, Queen of Mars and a trio of Tod Browing/Lon Chaney collaborations (West of Zanzibar, The Unholy Three, The Unknown). This year's unsettling oddity is an adaptation of Nikolai Gogol's most famous short story about the repercussions of a lowly office worker's obsession with obtaining a new overcoat. An acquaintance who attends the Pordenone Silent Film Festival wrote me that it's "a real jaw-dropper" and said people came out of the screening "completely mind-blown." I recently watched it on YouTube in the hopes of being disappointed – an early evening might have been nice, but nothing doing. This should be excellent and I can only imagine what the Alloy Orchestra has cooked up in the way of a score.

Sunday, July 15

10:00 A.M. The Mark of Zorro (1920, USA, dir. Fred Niblo)
This is a movie I've wanted to see for ages and I'm surprised the festival has never shown it. Based on Johnston McCulley's 1919 short story "The Curse of Capistrano," the film was Hollywood's first big swashbuckler and made Douglas Fairbanks a bigger star than he already was. He had a hand in writing the script and was responsible for coming up with that unmistakable Zorro "look." It was released the same year Fairbanks married Mary Pickford and was the debut release of United Artists, the company he co-founded with Pickford, Chaplin and D.W. Griffith. Director Fred Niblo would later work with Ramon Navarro in Ben Hur and Rudolph Valentino in Blood and Sand. Be on the lookout for 12-year-old Milton Berle in the uncredited role as "Boy." Dennis James on the Mighty Wurlitzer would seem the perfect choice for accompaniment. And once again, kids under 10 are admitted free!

12:00 P.M. The Docks of New York (1928, USA, dir. Josef von Sternberg)
No less than renowned film historian Kevin Brownlow considers this von Sternberg's finest film, which was released one year before he'd depart for Germany to make The Blue Angel. It's also his last silent film – excepting1929's The Case of Lena Smith which is lost – and was selected for preservation by the National Film Registry in 1990. Betty Compson, a major silent star largely forgotten today, plays a prostitute who gets involved with the sailor (George Bancroft) who rescues her from a suicidal drowning. The film is by all accounts visually stunning, with an unsentimental and non-judgmental mindset towards its characters. I'm especially interested in seeing Olga Baclanova, best known as Cleopatra the trapeze artist in Tod Browning's Freaks, in a supporting role as the sailor's wronged wife. The intertitles are supposed to be something else. A wedding scene carries one that reads, "If any of you eggs know why these heels shouldn't get hitched, speak now or forever hold your trap." Donald Sosin will provide accompaniment on the grand piano.

2:00 P.M. Erotikon (1920, Sweden, dir. Mauritz Stiller)
Don't confuse this with Gustav Machatý's 1929 Czech film of the same title which played the festival three years ago. Stiller's Erotikon is a drawing room comedy about an entomologist studying the sex life of bugs. He has a mutual infatuation with his niece and a free-wheeling wife who's juggling the affections of a sculptor and an aviator. Detached and observational, the film is noted for its complete lack of moral judgment, unlike Hollywood films of the period. It sounds like a major highlight is the opera scene, with a half naked "Queen of the Shah" writhing lubriciously on a stage set worth of Busby Berkeley. Five years after Erotikon, Stiller would set sail for America with a little known actress he had discovered and given the name Greta Garbo. The Matti Bye Ensemble, who accompanied Stiller's The Blizzard at last year's festival, will repeat that honor for Erotikon.

4:30 P.M. Stella Dallas (1925, USA, dir. Henry King)
I knew the name Stella Dallas growing up because whenever I'd complain about how tough life was, one or both parents would respond, "Kid, you've got more problems than Stella Dallas." Oddly, I never sought out the famous 1937 Barbara Stanwyck vehicle – or the 18-years-running radio serial or Bette Midler's 1990 remake – so this will be my first exposure to the ultimate tale of maternal self sacrifice based on Olive Higgins Prouty's 1923 novel. The film was Belle Bennett's big break, as she was chosen over 73 other actresses by Samuel Goldwyn. Tragically, her 16-year-old son, whom she'd been passing off as her "brother" to hide her age from Hollywood producers, died during the production. The film co-stars Ronald Colman as Stella's wealthy husband, reuniting the actor with Henry King, who had directed his first Hollywood starring role (1923's The White Sister.) Also making an appearance is 16-year-old Douglas Fairbanks Jr., in his fourth screen appearance. Czar of Noir City Eddie Muller will provide one of his customarily entertaining introductions, and Stephen Horne will accompany the film on grand piano.

7:30 P.M. The Cameraman (1928, USA, dir. Edward Sedgwick & Buster Keaton)
The festival ends with what many consider Buster Keaton's final masterpiece. It was his first film for MGM (a move he'd later call "the worst mistake of my career") and never again would he possess the independence and control necessary to create films worthy of his talents. Shot on both NYC locations and Hollywood sets, the film stars Keaton as accidental news photographer who becomes embroiled in Chinatown Tong Wars. Highlights include a hilarious sequence shot at a public swimming pool and one of film history's best performances by a monkey. The Cameraman was considered lost until an entire print was discovered in Paris in 1968. The Mont Alto Motion Picture Orchestra will accompany the film, with introductions by Leonard Maltin and SFSFF board member Frank Buxton, who was an acquaintance of Keaton.

Prior to The Cameraman, the Bay Area will finally get to see the most recent restoration of George Méliès' beloved 1902 short, A Trip to the Moon, which premiered at last year's Cannes Film Festival. In 1993, a hand-colored print of the film was discovered at the Filmoteca de Catalunya in a state of almost total decomposition. Restoration began in 1999 and took over 10 years to complete. Actor Paul McGann will be on hand to read the film's narration and Stephen Horne will accompany on grand piano.

Cross published on The Evening Class.