Montclair Film Festival, Take One

Moira Shearer in THE RED SHOES, the 1948 film classic exquisitely restored and featured at the first annual Montclair (NJ) Film Festival on May 6. Marty Scorsese has called this film one of the five greatest films ever made and a film that, after he saw it for the first time at age 5, changed his DNA forever.

I took a chance and attended a few screenings at the first annual Montclair (NJ) Film Festival last week (May 1-6)and was glad I did.  Having weathered 15 American Film Festivals and 11 Christopher Awards galas, as a staffer, program manager and event producer during my career, I was impressed with this inaugural effort to shine a light on some new hot-button documentaries and offbeat indie dramas, as well as two restored vintage films and talented local and not-so-local talent (including Oscar winners: director Michael Moore, actress Olympia Dukakis and editor Thelma Schoonmaker; and Tony nominee Kathleen Turner, among others).  I was also especially encouraged by the cordiality of the Festival’s dedicated on-site support staff (more than 250 volunteers of all ages!) manning various far-flung venues.

Montclair is an artsy town, within easy commute of New York City, so it’s an appealing residence for notable show folk in front of and behind the camera.  Several years ago, I visited the great actor/singer/dancer Eddie Bracken at his lovely Montclair home, hoping to convince him to be a presenter at our upcoming Christopher Awards gala.  He performed regularly at the Paper Mill Playhouse in Millburn (NJ) at that time, but he was in failing health and sadly never made it to the gala.  He was, however, a gracious host to me that day, and I relished his anecdotes and the incredible memorabilia, film posters and photographs that filled every room and heralded each decade of his stage, TV and film career (The Miracle at Morgan’s Creek and Hail the Conquering Hero to name just a few).

Today, Montclair “names” run the gamut from Stephen Colbert and actor Patrick Wilson to legendary “linguist” Yogi Berra.  Montclair is a mecca for foodies, music and film fans who feast at a wide array of international restaurants, flock to a multiplex (Clearview’s Clairidge Cinema) that showcases independent and foreign films, and converge on The Wellmont, a onetime vaudeville/movie palace that is now giving NYC’s Beacon Theatre a run for its money by featuring music acts of all persuasions, from Tony Bennett to Death Cab for Cutie

The Montclair Art Museum and Montclair State University are also fine art and theatre draws to the community as well.   While seriously challenged in the parking arena, Montclair is, nonetheless, shaping up to be the perfect site for a film festival (www.MontclairFilmFest.org), and I’m glad I gave this first effort a shot, especially since two of the featured dramas—one new (The Perfect Family) and one vintage but gloriously restored (The Red Shoes)—are particularly worthy of some reflection in upcoming installments of FrontRowCenter. Stay tuned!—Judith Trojan

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Chimpanzee

Oscar takes a snooze with his adoptive dad in CHIMPANZEE
A Disney Release

Disneynature’s Chimpanzee calls to mind March of the Penguins, minus the ice and snow and high-minded narrative. Both films unfold in treacherous landscapes traversed by intrepid filmmakers who test the limits of Mother Nature, time-lapse photography and technologically advanced film equipment.  Their goal?  To capture–on film–big moments in the life cycles of captivating creatures.  Both films similarly feature voice-overs by notable actors.   And Chimpanzee, like March of the Penguins, is destined to become an evergreen nature and wildlife classic. 

Chimpanzee is narrated by Tim Allen, whose “voice” is beloved by young fans of the Toy Story franchise.  I was convinced that his narration (which frankly sounded sappy in the film’s TV ads) would fall flat and send me running from the theatre.  Not so.  The narration, in fact, is gently educational and engaging and manages to soften (for young children and squeamish adults) some of the high drama that unfolds (mainly off-camera). The soundtrack’s original songs are lighthearted distractions and thankfully few and far between.

Allen’s narrative reflects upon the daily habits of the chimps (in the “great rainforest in deepest Africa”).  If you stay put during the closing epilogue and credits, you’ll find out the exact location (the Tai Forest of the Ivory Coast), and you’ll meet the filmmakers whose challenges in that location are recapped in fascinating, but all-too-brief clips.

Chimpanzee focuses on newborn “Oscar,” his tenderly attentive mom “Isha,” their extended family, and most especially alpha male “Freddy,” who had an amazing surprise in store for the filmmakers.  As the days and months go by, we watch as Oscar learns the ropes in his forest habitat.  He plays and climbs and begins to eat solid food that requires developing the masticating and manual skills, respectively, to properly digest and forage for fruit, nuts and ants.  And he experiences the rules of “the hunt” firsthand by watching adult chimps entrap small monkeys for meat.  Despite these tentative teaching moments, Oscar never ventures far from his mom, reminding us how closely aligned chimps are to their human cousins. 

Drama builds when a rival band of chimpanzees encroach upon Freddy, Oscar and Isha’s favorite fruit and nut groves.  Led by wizened “Scar”and his team of macho marauders, these chimps orchestrate stealthy maneuvers that are fascinating and unnerving to watch, as is the resulting upheaval in Oscar’s life.

As with many of the best nature film projects, Chimpanzee took an unexpected turn that shocked the filmmakers and turned a simple lifestyle chronicle into an instant classic.  Suffice it to say that the role reversal exhibited by previously aloof alpha male Freddy will touch the hardest of hearts.  In fact, Freddy’s behavior and the exquisite filmmaking, as a whole, so impressed Jane Goodall that she put her imprimatur on the film and has taken to the airwaves to promote it.  The Jane Goodall Institute will see a cut of the proceeds from the first week’s box office.

Chimpanzee speaks directly to kids, but the message is clear for all ages who need to hear it.  These are exceptionally intelligent creatures who share 99% of our DNA.  It is noted in the epilogue that in 1960 one million chimpanzees lived in the wild, while only 1/5 of that number now remain.  Their loss is a tragedy that impacts us all.  There are other lessons to be learned here as well, most notably the reasons Scar and his team eventually fail in their efforts to drive Freddy and his family off their turf and into oblivion.  Scar’s leadership and alliances are compromised.  While Freddy turns out to be an old softie whose sensitive side never compromises his leadership within his extended family.  

There are many good reasons to take the kids, young and old, to see and learn from this film… during its first week, to support Jane Goodall’s tireless work on behalf of chimpanzees and, thereafter, to understand and promote the protection and humane treatment of these amazing animals.     

Bravo to Alastair Fothergill and Mark Linfield who co-directed and produced Chimpanzee, with co-producer Alix Tidmarsh, and principal cinematographers Martyn Colbeck and Bill Wallauer. Professor Christophe Boesch, head of the Wild Chimpanzee Foundation, served as principal consultant.   Rated G…for Great!—Judith Trojan

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Jesus Christ Superstar Back on Broadway

Paul Nolan as JESUS CHRIST SUPERSTAR

With some trepidation, I caught the Broadway revival of Jesus Christ Superstar the day before it opened at the Neil Simon Theater on March 22. I’m happy to report that this incarnation of the pop rock opera, with lyrics by Tim Rice and music by Andrew Lloyd Webber intact, is a thrilling revelation.

The production originated at the Stratford Shakespeare Festival where it was helmed by artistic director Des McAnuff. I remember being underwhelmed by the concept and film back in the ’70s (the rock opera originated as a hit “concept album” and then broke records on Broadway, opening in 1971). The 1973 film starred Ted Neeley as Jesus Christ and singer Yvonne Elliman as Mary Magdalene.

Despite the passing of four decades and never having seen the original Broadway production, I was surprised to find myself remembering the lyrics and singing along under my breath during this revival. The show moves like wildfire, which is a major plus for “hyper-moderns” who are used to speeding through life via the Web and for over-booked Boomers. It’s loud but not too loud, just loud enough to get you to feel “the passion,” in every sense of the term.

The scenic design is simple yet imposing. Designer Robert Brill wraps the stage in silver metallic scaffolding that the mostly modern-dressed cast acrobatically climbs and moves about with abandon. Jesus’s final six days are clearly tagged on a “daily” ticker feed that spreads across the scaffolding.

The vocal talents of this cast are extraordinary and that’s an understatement. Kudos most especially to Paul Nolan as Jesus and to Jeremy Kushnier, who played Judas Iscariot during the performance I attended. Kushnier pulled out all the stops in a star-making performance (he normally plays James the Lesser/Priest and understudies Josh Young as Judas). Both Nolan and Kushnier have vocal ranges that defy description, and Nolan will no doubt attract a huge female following during this run as beneficent, beauteous Jesus. Other stand-outs include the understated but unnerving performance by Tom Hewitt as Pontius Pilate and the bawdy turn by Bruce Dow as King Herod, who conjures up fond memories of a twisty Nathan Lane.

As the end draws near, the über-electricity peels away layers of Judas’s conflicted betrayal, as well as the doubts and fears faced by Jesus and Chilina Kennedy’s raw-nerved Mary Magdalene. The brutal lashing and crucifixion are reenacted with minimalistic staging and heightened musicality yet are nonetheless poignant and powerful. This production of Jesus Christ Superstar, well-timed for revival during the Passover-Easter season, is outstanding and recommended for audiences of all religions, ages 12 and up. Don’t miss it! –Judith Trojan

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The Kid with a Bike

Samantha (Cecile de France)and Cyril (Thomas Doret) bond in Jean-Pierre and Luc Dardenne's THE KID WITH A BIKE
A Sundance Selects release.

In their latest film, The Kid with a Bike, Belgian filmmakers Jean-Pierre and Luc Dardenne focus on an abandoned boy and the caring young woman who steps in to save him.  When his grandmother dies and his dad disappears, Cyril (Thomas Doret) is consigned to a boys’ home.  Convinced his father would never abandon him and sell his bike, the boy tracks down his dad and bike only to face harsh reality.  Cyril is wired for trouble and easy prey for the town bully who lures younger boys into larceny. 

Although this film has all the makings of a tear-jerker, it veers instead into an unsentimental story about one woman’s determination to tame and parent the troubled boy.  Samantha, played here by the Belgian actress Cécile de France (seen most recently in Clint Eastwood’s Hereafter), is a small-town hairdresser who fatefully crosses paths with Cyril and decides to foster him.  Like all good parents, she never gives up on him, providing stability when the boy’s penchant for acting out threatens to destroy them both.  

This 2011 Cannes Grand Prix-winning film, only now being released in the States, is essentially the story of a boy who faces one of the worst possible forms of trauma—abandonment by a living parent—and learns to trust and love again via a surrogate parent who commits for the long haul. 

While this scenario may sound like “Boys Town Revisited,” The Kid with a Bike never resorts to sentimentality or stereotype.  Young Thomas Doret in his first screen role segues believably from wild child to wary good citizen.  And Cécile de France as Samantha upends this potential fairy tale with her warm, determined portrayal.  It’s credible that Samantha’s timely presence is a good fit for this child.  

I strongly recommend The Kid with a Bike for ages 12 and up.  It should make a wonderful discussion starter in school, library, church and family counseling sessions on subjects ranging from splintered and alternative families to bullying and juvenile delinquency and could be especially useful for foster parent recruitment. In French, with English subtitles.—Judith Trojan  

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TV Commercials Trump Programming

http://www.chipotle.com/en-us/fwi/videos/videos.aspx?v=1

L’Odyssee de Cartier

I’ve never shopped at Cartier or eaten at Chipotle…two ends of the economic spectrum for sure…but both companies deserve a round of applause for stepping up to the plate and producing short films that, when aired as TV commercials, outshine 99% of standard TV commercials and full-length TV fare for that matter.

Cartier and Chipotle not only intelligently utilize the medium to its fullest, incorporating high-end computer-generated imagery and powerful music scores, but also never lose sight of the strengths of on-location filmmaking (Cartier) and the power of traditional animation (Chipotle).  In short, they don’t let technology short-circuit their mission and message.  In both instances, the “advertiser” respects their viewer/customers’ intelligence enough to take the medium to a higher level.  How refreshing!

Another plus worth noting:  Cartier and Chipotle clearly show via these films (and in the case of Cartier, its production notes) that their corporate brand and mission promote the humane treatment of animals.   

I caught the Cartier film on-air today (3/11/12) during “CBS News Sunday Morning.” This exquisite film, “L’Odyssee de Cartier,” follows a panther (the historic icon of the House of Cartier) as it transforms from a bejeweled treasure into a live animal that traverses European locations that morph into mystical terrain inhabited by jewel-like flora and reptilian creatures.  All evolve into iconic pieces of Cartier jewelry.  This magical film could stand comfortably toe-to-toe with any recent fantasy feature film that melds live action with computer technology to tell and sell a story.  The film was shot by French director Bruno Aveillan and scored by composer Pierre Adenot, who recorded the score at historic Abbey Road Studios in London.  

I’ve already written about the Chipotle commercial, “Back to the Start,” on Facebook when the mini-masterpiece premiered on-air during the “Grammy Awards” in February. I was knocked out by Chipotle’s gutsy message featuring Willie Nelson’s plaintive voice promoting their healthy approach to farming meat and produce. I’ve not yet eaten at Chipotle’s, but I’m encouraged to by their promotion of the humane treatment of animals, the sustainable approach to agriculture, their inspired use of traditional model animation and the choice of my fave Willie Nelson singing Coldplay’s haunting “The Scientist” on the soundtrack.–Judith Trojan

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The Way

Martin Sheen treks The Camino in "The Way"

A father (Martin Sheen) reaches the site where his son died trekking The Camino in THE WAY

A refreshing surprise.  I’m usually not a fan of overtly inspirational films, but I was often moved by The Way and definitely recommend it.  The spot-on casting and appealing characters should appeal to a broad audience.  Unlike most films with spiritual subtexts, The Way speaks to audiences of all faiths and no faith. 

There is something for everyone searching to find meaning in life after debilitating setbacks and loss.  The “road” theme is utilized to good effect; and while the Don Quixote/Sancho Panza/Dulcinea reference becomes apparent early on, it injects some much-needed levity.  The engaging actors should generate interest in this offbeat subject and may inspire audience members to follow “the way” (The Camino) as well. 

The characters’ attachment to the grieving dad protagonist (Martin Sheen), despite his arrogance and insensitivity, is touching and sustains interest in their journey and self-actualization.   The debunking of gypsy stereotypes, while perhaps a bit forced, provides food for thought and a new look at gypsy culture today.  The same can be said for the Catholic priest who tackles the journey in unorthodox garb. 

The direction by Sheen’s son Emilio Estevez makes the most of the theme’s rugged location, and the script, casting and characters serve the message well. I was moved to tears at the end and was impressed with Sheen’s obvious physical dedication to his son’s vision. –Judith Trojan

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