Archive for June, 2014

Cogito: John Branch

June 28, 2014

Television:
JB photo-painting by RC 2

 


Halt and Catch Fire

Remember when Mickey and Judy decided to put on a show? That happened in the 1939 film version of Babes in Arms, which launched the career of an entire stock plot. The characters in these stories often have personal goals Mickey-Rooney-and-Judy-Garland-in-Babes-in-Arms-1939
Mickey and Judy want
to prove themselves as performers
—and beyond that there’s always an urgent rescue mission, whether it’s saving their parents from bankruptcy (as Mickey and Judy must do), or saving the orphanage (like John Belushi and Dan Ackroyd in The bluesbrothers_0Blues Brothers). The creators of Halt and Catch Fire, a new hour-long drama on AMC that began June 1, may be surprised to hear it, but they’ve set up the same kind of situation.

At the outset, its three enterprising heroes are in need; Joe has a vision he needs help pursuing, Gordon is drifting and needs halt and catch fireto be galvanized, and Cameron just needs a job. By the end of the first episode, they’ve come up with a project–just in time, because the company where they work needs to be saved. The difference between Halt and Catch Fire and its predecessors is that in this show, instead of making a new piece of theater, our heroes set out to make a new computer. That’s a pretty big difference, yes, but the new series, like the old films, is still about saving something by making something.

And it’s still basically a backstage drama we’re watching. That brings with it a high chance of discord: scheming, differing aims, clashing personalities, simmering resentments. But there’s also a potential for moments of music or dance, either literally (in the case of the movies) or figuratively (in TV dramas like this), where the characters’ work may include spells of harmony and collaboration. The premiere of Halt and Catch Fire doesn’t skip either opportunity.

My aim is only to discuss a few aspects of the show, not review the entire pilot (or the next three episodes, which have now aired). So I won’t describe what I just called the discord. But the pilot’s approach to music deserves to be pointed out. Roughly halfway through, Joe and Gordon hole up in a garage to figure out something about IBM’s recently launched PC.
We see signal probes halt and catch fire1
held to integrated circuits, sine waves registering on an oscilloscope, LEDs glowing on a breadboard. Cryptic letters and numbers are recited, written down, typed up, and printed out. The look of the scene is chiaroscuro, darkness pierced with gleams of light. Hours may be passing, or entire days, as Joe and Gordon labor to extract forbidden knowledge from the thing on their workbench. They could be alchemists of a past age.

The scene may strike some viewers as mere geekery, with nothing of music in it, and old-fashioned to boot, because all this is happening back in 1983. Step back and you can see more. Joe and Gordon’s work in the garage suggests the ancient human quest to figure out how something works and gain control over it; at the same time, the montage has a gently lulling rhythm and lyrical quality. There’s no clash of characters here; all is concord. Either I’ve missed a lot or this is an unusual thing. A common prescription for
writers is that your every scene needs conflict. The creators of
Halt and Catch Fire,Christopher Cantwell and Christopher C. Rogers, halt-and-catch-fire-season-1-christopher-cantwell-christopher-rogers-325are pretty young—they’re both in their early 30s, according to a Wired article—but they’ve clearly grown past that “rule.”

Along with the backstage-musical parallel, which I admit is a bit fanciful, there’s another. AMC is running the show in the Sunday-night time slot that was just vacated when Mad Men went on midseason hiatus. Like Matthew Weiner’s much-discussed and much-admired series, Halt and Catch Fire is a workplace drama, a show about a particular industry, and a period piece that’s capable of raising discussion about historical issues. What’s more, the character of Joe will probably remind viewers of Don Draper. You think you can see who he is—he can turn on the charm, he’s got a bit of a temper, he has daring ideas—and yet there are mysteries about his past. I’m not sure the comparison between the shows will help Halt and Catch Fire, but its creators seem to have invited it, and so has AMC.

I’m concerned about the nature of its truth as well. The show lists two technical consultants in its end credits. One of its creators grew up in Dallas, where the show is set, and his father worked in the computer business there. Two or three people on the show’s production staff expressed, in that Wired article, a high concern with accuracy. Despite all that, the pilot is sprinkled with technical, geographical, and social details that are likely to trip anyone who knows computers or the Dallas area (I grew up there). I’ll skip the technical matters and give other examples. There’s an armadillo in the opening sequence. Later, in the same episode, one of our central characters rides a bus near downtown; in a single shot, we see a familiar landmark called Reunion Tower and a group of longhorn cattle. The top men at the company we’re following have a twangy accent and a folksy way of expressing things.


dallasWhat’s wrong? There are twangers in Dallas, some of whom may run midsize companies, but I never worked for one—the accent is a class thing. I never saw or heard of a ’dillo within the city limits, except one that some friends put on a leash and walked through the Highland Park Village shopping center. And I’m pretty sure that the only urban cattle in the region have been those passing through the Fort Worth stockyards. What
Halt and Catch Fire has done is the Dallas way of presenting Dallas. It’s far from the Mad Men way of presenting Manhattan.

So what’ve we got here? A rather hard-edged drama with a few doubtful notions that’s willing to relax and sing now and then. I don’t know whether to applaud the things that it has done well or fear for its ambition and its creators’ relative lack of experience. But for now, there are reasons to keep watching.

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Apollo’s Girl

June 27, 2014

Film Society of Lincoln Center

apollo and artemis

 

I’ll See You Again… 

The Film Society is doing all of us a huge favor with its lavish summer series, an eclectic mix  of new films and retrospectives. Best part? The inclusion of several films that were seen all too briefly earlier in the year. Frustrating? Yes! Often their one or two performances at FSLC’s mini-festivals were sold out. Or they had distribution, but weren’t going to turn up for months. Orworse—they didn’t have distribution, and despite good reviews and passionate word of mouth they simply disappeared.

So, we are lucky. And lucky that, after decades of being constrained by only one theatre, FSLC now has the luxury of four screens to allow for both planning and spontaneity, direct response to popular opinion, and even for reviving forgotten or undervalued films that have been championed by its programmers. To widen the net, FSLC has recruited three heavy hitters—Florence Almozene, Jake Perlin, and Rachel Rakes—to join Director of Programming Dennis Lim in finding and scheduling the best of what was, what is, and what’s to come. The summer mix sports the annual Latinbeat (July 11 – 20); free outdoor screenings moonstruck(Moonstruck, July 22) and a series of HD operas from the Met, (July 23 – September 1); plus filmmakers-in-person talks and surprises. The only way to keep up with what’s on the screens is to bookmark the Web site (http:/http://www.filmlinc.com) and learn how to navigate it to maximum advantage. Every day.

Before embarking on a list of favorites, there are two coming up in August for one week each that must be seen: What Now? Remind Me (beginning August 8) and Red Hollywood (beginning August 15). What Now?
is
Joaquim Pinto’s deeply personal account of a year in Spain with his partner/collaborator Nuno, seeking prehistoric relics in local caves, working a farm, and struggling with the ravages of an experimental drug trial for pintoAIDS. But it’s real agenda is the fully realized life of the mind, body, and heart that Pinto’s courage and humanity explores every day. It is painfully honest, occasionally funny, and always heartbreakingly beautiful.

The landscapes. The music. The depth and breadth of feeling. The way ideas are expressed in sound and image, and in the masterful editing that turns life into art. Pinto’s earlier work will be screened for a week as well, along with films by Ruiz, Schroeter, and others for whom Pinto was sound designer and producer. ( A Life Less Ordinary: the Films of Joaquim Pinto)

Red Hollywood is What Next?’s polar opposite: andersonThom Anderson/Noël Burch’s insider’s look at the way the film industry expressed (or condemned) left-wing agendas from the 1930s to the 1950s. Newly remastered and re-edited, the film offers not only an emotionally charged trip down Hollywood’s memory lane, but a potent overview of how, and why, America moved politically over the decades. Did these films follow the crowd or lead it? You can find your own answer to the question, along red hollywoodwith some astonishing scenes written, played and directed by household names of the era. And, as with Pinto’s What Now?, Red Hollywood will be complemented by a week of filmsBlacklist (chosen by Anderson) showcasing the work of some of the biggest blacklistees (Ring Lardner, Jr., Dalton Trumbo, Joseph Losey) to survive—bloodied, but mostly unbowedor not.

Life Itself
There’s no other way to say it: Steve James’ film about Roger Ebert’s life and times is ssteve jamestupendous. Granted total access by Ebert and his wife Chaz, James pulls no punches, and some of them are knockouts. James also knows his subject intimately and has the advantage of years of priceless archival on-air footage of Ebert (with and without his longtime sparring partner, Gene Siskal). But most of all he has a storyteller’s grip on the material that keeps you at full attention right up to the closing credits.

Life Itself opens with a sequence of anecdotes about Ebert that are funnier (individually and collectively) than any comic film I can remember. You simply can’t stop laughing. And just when your insides begin to hurt from the exercise, James gets down to the rest of the tale. All of it. Ebert’s voracious talents, tics, appetites and tastes. It is glorious. It is life itselfemotionally honest and, when confronting Ebert’s illness and its terrible consequences, deeply painful. But then, the way Ebert dealt with those consequences is just as deeply inspiring. So is the way he and Chaz met and married and made their singular life together. This is one hell of a movie about one hell of a guy, and certainly an Oscar nominee. But it’s not about awards. It’s about riding the rollercoaster that was Roger Ebert and not wanting to get off. Opens July 4 at the Elinor Bunin Munroe Film Center.
Be there!


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