(Image courtesy of the Tribeca Film Festival)
In the last weekend of the Tribeca Film Festival, a strong slate of documentaries showed that covered things southern, eccentric art forgers and brassy politicos. My second dispatch runs today at PopMatters, here.
First is All About Ann: Governor Richards of the Lone Star State. Befitting its once-in-a-lifetime subject, this clearly worshipful documentary is big-hearted and loud-mouthed, but gets by on the strength of sheer personality. It’s also screening tonight on HBO:
Ann Richards seems a perfect subject for a documentary. The beloved Texan progressive wore her hair in a signature bouffant and power-lunch suits, and was well known for her remarkable comic timing. Her knack for bringing crowds to their feet recalled a long-ago era, especially when she embarked on stemwinders skewering the traditions that kept women and minorities in their place (and her state in the 19th century), while also pointing the way forward. As her old buddy Bill Clinton—who is about the only Democrat of recent years to have come close to her facility with humor and language—notes in All About Ann: Governor Richards of the Lone Star State, you can get a lot more people to listen to what you have to say if you’re funny…
Next up we’ve got Art and Craft, a taut story about a spindly little criminal who may not actually have broken any laws, just infuriated museum staffers across the south who have been taken in by his forgeries:
Already the subject of numerous news stories and magazine profiles, Mark Landis is a square peg in a round hole figure, the sort that raises questions about the “art world” every so often. Sam Cullman, Jennifer Grausman, and Mark Becker’s film shows an appreciation for Landis’ oddities, not just personal but also professional. Landis is an art forger and a schizophrenic, but he doesn’t forge for money. He just likes to create fake pieces of art and give them away to museums and other institutions under false pretenses. As he puts it, “I went on philanthropic binges.”
Art and Craft was already picked up by Oscilloscope for a release later this year; keep your eyes peeled.
Winter is coming…eventually.
So, as anybody who follows anything to do with George R.R. Martin’s Game of Thrones books knows, the man takes a while to write them. No surprise, as they’re all 800 or so pages of 110-proof plot, not a lot of air in there for character-building or atmosphere. It’s action and intrigue all the way through. So when he took six years from the publication of the series’ fourth book, A Feast of Crows, to come out with the fifth one in 2011, A Dance with Dragons, people were getting agitated. Now, with the HBO series adaptation going gangbusters, and with everyone all caught up on the books, anxiousness builds for the sixth novel, which will be released…sometime.
Adding to the anxiety is the fact that Martin took time off from that book to pen a short novella for a new anthology titled Dangerous Women that’s hitting shelves in December; Tor just posted an excerpt from it here; this is how it begins:
The Dance of the Dragons is the flowery name bestowed upon the savage internecine struggle for the Iron Throne of Westeros fought between two rival branches of House Targaryen during the years 129 to 131 AC. To characterize the dark, turbulent, bloody doings of this period as a “dance” strikes us as grotesquely inappropriate. No doubt the phrase originated with some singer. “The Dying of the Dragons” would be altogether more fitting, but tradition and time have burned the more poetic usage into the pages of history, so we must dance along with the rest…
Enjoy the wait for the rest.
Laura Miller’s great New Yorker piece on Martin is here.
My review of A Dance with Dragons is here.
Louis C.K.: “I like to think I’m a nice person, but I don’t know — a lot of it is context”
So how long has everyone known about Louis C.K.? You try to be a culturally aware person, up on the latest things, familiar with the trending performers, and so on and so forth. But every now and again one or more slips through the cracks and you just … miss it. Then, you’re behind the curve, and the more people go on about him or her, you figure, well, I’ll get around to it eventually. And then you do. And then you realize … what took me so long?
Case in point, Louis C.K.’s latest special, Oh My God. If you read my review of it that ran on PopMatters yesterday, you might be forgiven for thinking that this particular writer had been following this guy’s career for years, when in fact it was a very recent development, and long overdue.
Anyways, it’s a great hour of comedy, here’s part of my review:
Whenever Chuck Klosterman gets tired of writing the New York Times’ “Ethicist” column, the editors there should consider throwing out a feeler to Louis C.K. They might have to put up with a few gags about the Holocaust and child murder, but he’s actually a good fit for the position. His media profile is that of the controversial shock-comic who leaps into territory that might daunt Sarah Silverman. But what’s always been most interesting about C.K. is his quaintly earnest examination of morality and life’s purpose, with the occasional joke about cannibalism…
Here’s the promo:
With much less fanfare than greeted her HBO show Girls, Lena Dunham worked on Nobody Walks, a kind of lo-fi hipster / L.A. trash bed-hopping melodrama that gets creepier the closer you look at it. My full review is at PopMatters:
At the start of Nobody Walks, 20something New York artist Martine (Olivia Thirlby) gets off a plane in Los Angeles and promptly gets into a heavy make-out session with the handsome man putting her bags in his car. Right there in the parking garage, he begins unbuckling his belt and she puts her hand on his chest and tells him that it was really great talking to him on the plane, but…. He cocks a “can’t blame a guy for trying” look at her, and then gives her a lift. It’s an innocuous and seemingly funny scene, the kind of fumbling comedy you would expect from cowriter Lena Dunham…
Nobody Walks is already playing in limited release.
You can see the trailer here:
Alfred Hitchcock had his issues, no question about that. But although his obsessions with guilt, control, and particularly various of his leading ladies have been well documented in print, outside of the cineaste world those proclivities are not well known. That might change somewhat with the release of The Girl.
Premiering in late October on HBO, The Girl is about the legendary campaign of intimidation that Hitch waged against his star Tippi Hedren on the set of The Birds. Hedren herself has talked about what a miserable experience it was, calling him an “unusual, genius, and evil” filmmaker.
The film about the film stars Sienna Miller as Hedren and (applause) the great Toby Jones as Hitch himself. The director is Julian Jarrold, who directed the first and best of the Red Riding films back in 2009.
Check out the trailer here: