Archive for June, 2016

Apollo’s Girl

June 29, 2016

Music

apollo and lyre

 

 

When You’re Living on Mars
You Can Miss the Man in the Moon:

Benjamin Scheuer

One of the things about living on Mars is that you can keep the noise of civilization and its discontents at a distance. The down side of this luxury is that you can miss something unique and extraordinary―like Benjamin Scheuer, for instance.

Blissfully unaware that he had co-opted the public arena for quite a while, toured widely in a one-man show, released CDs, music videos, books and articles, appeared on Charlie Rose and been praised enthusiastically in all the right places (http://well.blogs.nytimes.com/2016/06/02/an-artist-takes-on-cancer/), I had never heard his name. Yet my good scheuer5instincts kicked in when his new album (Songs From THE LION) was described in a press release. Something about its unusual warmth (could the writer actually believe what (s)he was writing?) and unusual content (Scheuer has had what the Chinese call an” interesting life” marked by serious illness and loss) caught my attention. So I checked out a link within.
He had me at frame one, measure one, and wouldn’t let go:

More, the press material included a rave by Mary Chapin Carpenter, describing his appearance as part of her UK tour at the Royal Albert Hall in London. That, dear readers, is huge—really huge. How could a lone singer and his guitars connect with listeners in its 8,000 places? Because he’s a world-class connector who can turn that space into your living room. Because his fearlessness can stop you in your tracks. So how could I not race to hear him up close, alive and well, in the Rubin Museum’s intimate auditorium?

The house was full; the crowd handsome, hip and sleekly dressed, in the know and waiting—like the six acoustic guitars already onstage—for their hero. The unlikely troubadour entered to a roar in his working clothes: intensely colored suit, shirt, tie, pocket handkerchief. And―surprise―knee-high Paul Bunyan boots made for striding.

One can analyze Scheuer’s music and lyrics; his harmonies are comforting,  but deftly laced with flashes of progressions that surprise (like his boots). Just when you think you know where things scheuer3are going they remind you that he’s the pilot. They twine around his lyrics, rhyme or free verse, complex ideas that pack a very direct emotional wallop. They sneak up on you; not so much flashes of surprise, but cannily structured bits of theatre that build stealthily to a climax, invade your heart. Don’t even try to distance yourself. Just give in to discovery.

What Scheuer has, in spades, is a low-key charm, a magnet that captures, and keeps, your attention. He is affable, chatting and singing, even when describing the darkest days of his life, and hilarious when recounting his meeting, and pursuing, Ms. Right. He has a lot of stories. What makes them go, whatever their content, is his generosity of spirit; he’s always in the moment, and you’re there with him. This is a man in the moon who enjoys performing and knows how to share his glow.

He’s an alumnus of the Johnny Mercer Foundation Songwriters Project, a music theatre crucible where creatives are driven to the next level. Also an alumnus of Eton and Harvard. Yes, his background has given him access to the basics of being Out There. But it’s his enormous talent 

Benjamin Scheuer in the hip musical hit "The Lion." Caption: Karen D'Souza Photo credit: Matthew Murphy Courtesy of ACT

Benjamin Scheuer in the musical hit “The Lion.”
Caption: Karen D’Souza Photo credit: Matthew Murphy
Courtesy of ACT

and empathy that have moved him far beyond the benefits of favors to win the laurels he deserves. He’s his own man, and they are very, very real. He has also chosen collaborators, kindred spirits (like Peter Baynton,who directed his videos) who have found exactly the right key to make his songs resonate on stage and screen.

Now for the bottom line: those songs make you cry, except when they make you laugh. He has the gift of alchemy. His father’s death and his own illness have been transmuted into universal experiences that cut right through your defenses and any scar tissue you’ve accrued from living in the 21st century. The real miracle is how he’s made lemonade out of some really colossal lemons. He stands tall and radiates hope, and you catch it, like some redemptive antibiotic. Especially when he announces that he will celebrate his fifth anniversary of being cancer-free this July.

If you’re lucky enough to snag a ticket, celebrate the occasion with him in person at Guild Hall in East Hampton on July 1st (https://www.guildhall.org/). You can watch his videos on YouTube (there are many) and relish the CD of Songs from THE LION (Paper Music/ADA). His Web site (http://benjaminscheuer.com/) will tell you 242BenjaminScheuerwhere to catch him live later on: this troubadour is taking his show on the road, big time! Shine on, Ben―shine on. It’s a lovely light.

Apollo’s Girl

June 18, 2016

Film

apollo and lyre

 

Open Roads: Just Gone,
but Not Forgotten…
HRW: Right Here, Right Now

What’s not to love about Open Roads? Always overflowing with joie de vivre, poetry and violence; with the occasional historical film to open roadsrelish, and resonant with the humanity for which the Italians are famous. Of course it can come at a price—heightened decibels―but two of this year’s standouts at the Film Society of Lincoln Center were whispers, far more powerful than any shout.

.Arianna, a narrative feature debut by Carlo Lavagna, was a real jewel, as unexpected as it was tender and perplexing, lofted by an extraordinary actress—Ondina Quadri—whose candor and Ariannasubtlety matched the script. The story of young intersex woman unfolds with considerable full-frontal nudity and sexual exploration. Could it have been exploitative? Certainly. But not in Arianna. What might have been distasteful with another director seems here compassionate and always respectful of the people (and especially the person) whose lives have been constrained by a secret: parents who deeply loved their son and wanted to save him from the cruelty he would suffer if they didn’t act on his behalf. And the son himself, turned surgically into a daughter as a young child before he could understand what he might expect. And most of all, the remarkable Ms. Quadri who remains luminous, mysterious, and entirely appealing throughout the film. Her journey is both heartbreaking and reassuring as she finds the strength to accept herself and whatever future that may lead her to. So far, Lavagna has been nominated twice: for Best New Director, and Best Feature Film; there will be more. Quadri has won two awards at Venice for Best Actress in a Debut Film, and is currently in the forthcoming Il Nido

Banat (Dir.: Adriano Valerio) This, too, is a feature debut–by Valerio, whose handful of shorts include several nominations,banat and a Special Mention win at Cannes. His work as writer and cinematographer before Banat has sharpened his talent for shaping a narrative with images from long shot to closeup, like windows into the characters he has carved into his narrative. It is an unlikely love story, catching fire quickly and sustaining it as the lovers move from southern Italy to a run-down farm in Romania and cope with the displacement. Their relationship is sexual, affectionate and playful in equal measure. Valerio’s talent extends to watching over his cast; they are fully dimensional in the brief scenes that develop their story almost like a storyboard, allowing you to fill in the spaces between the frames. You will, and you will want Ivo (Edoardo Gabbriellini) and Clara (Elena Radonicich) to keep the heat alive long after the credits roll.

Human Rights Watch (https://ff.hrw.org/)


hrwThere were women everywhere throughout HRW, behind the cameras and captured by them; perhaps the most unlikely a Chinese heroine (Ye Haiyan) nicknamed Hooligan Sparrow. Her journey (more properly called an ordeal) traces her evolution from country girl to prostitute to ardent activist in a country where activism is sure to be treated more harshly than sex-for-money—illegal, but pervasive. It began with the news of an elementary school principal who had taken six of his students to a hotel. As we learn, the sentence for child prostitution in China is less than that for rape. Ye Haiyan’s response was to stand with a sign reading “Hey, principal—sleep with me; leave the kids alone.” As the storm swirling around her and first-time filmmaker Nanfu Wang gathered, the government’s Goliath geared up to demolish them. Wang was physically assaulted more than once, and Ye Haiyan was hounded from one town to another. During one attack, she and her belongings were dumped out all over a highwayand left there. Perhaps Hooligan Sparrow is technically rough, but Wang (literally shooting from the hip) was strong enough to capture the fierce emotion and courage that will be sending this Sparrow around the world.

 Sonita (Dir.: Rokhsareh Ghaem Maghami) Although technically a documentary, Sonita is a hair’s breadth

(Photo: Stephanie Sidoti)

(Photo: Stephanie Sidoti)

away from a narrative with a truth-is-stranger-than-fiction plot that keeps you on the edge of your seat for most of its 90 minutes. Sonita Alizadeh, with dreams of becoming a rapper, is promised in marriage in her mid-teens. Through sheer determination and the help of the filmmaker, a support organization, and assorted samaritans at home and abroad, Sonita finds her way out of Afghanistan and into a university music program in Utah then, in short order, to the Internet as a viral sensation and recording artist in the fast lane. Turns out she’s as talented as she’s ingenious, and there’s no turning back: the film won both the Sundance Grand Jury Prize and Audience Award for World Cinema Documentary.

Jackson is likely to make you very, very mad and look for a way to get even on jacksonbehalf of April, the heroine of Maisie Crow’s both even-handed and inflammatory portrait of Jackson, Mississippi, where Barbara Beavers (Executive Director of the Center for Pregnancy Choices) and Shannon Brewer (Director of the Jackson Women’s Health Organization) try very hard to help April navigate a hardscrabble life. April has good instincts and a loving heart, and four children, born one year apart. As events unfold, Brewer and Beavers seem to have a common goal—to limit unplanned pregnancies. But Beavers’ solutions are abstinence or adoption; Brewer’s, birth control or (if desired by the client and early enough) abortion. Yes, Crow is an observant and disciplined filmmaker who has done her homework on the issues, but I won’t bet on audiences watching Jackson being able to remain calm for long, especially after seeing how the story plays out. The racial and economic divide may be implicit, but remains alive and well in Jackson.

Growing Up Coy (Dir.: Eric Juhola) will make you think for a long time after it’s over. Initially about a young transgender child who identifies as a girl, it develops into a complex legal battle over her right to use the bathroom of her choice at school, and into thecoy portrait of remarkably open-minded parents who want their child to thrive and are determined to remain supportive of her wishes. But things change: the issues become a magnet for school officials, politicians, lawyers andinevitablythe media. Lines are drawn and the public weighs in. The pressures to remain strong or to back off become an emotional roller coaster for parents and children, changing the balance of their relationships. They know that life in the spotlight, however painful, may lead to the victory that will empower their daughter. In the end, by standing fast and with the aid of their dedicated lawyer, they win. We are left to wonder what their future will bring once the spotlight is turned off, and there are definitely no easy answers to the question.

P.S. Jerusalem (Dir.:Danae Elon) As the daughter of renowned journalist and author Amos Elon, known for jerusalemhis disillusionment over Israel’s treatment of the Palestinians, Danae Elon has created a search for identity that is as clear-eyed as it is sensitive. Its sequences mirror her move (with her husband and children) from New York to the Israel of her youth, where she hopes to recapture a sense of “home.”

But, using her camera as both recorder and shield, her honesty and her sensibilities draw her into reflections that make her “home” increasingly problematic. While often beautiful to behold, her film captures the overt and the subtle realities of her home as it is now. p.s. jerusalemThis view from inside is ultimately painful, but required viewing for anyone who understands the importance of resolving the conflicts that persist in the powder keg that has replaced the Promised Land.

P.S. Human Rights Watch This was a very, very good year..

 



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