Puppet Month Quick Picks and Pans

 

Shari and Lamb Chop (2023) Lisa D'Apolito’s documentary is an affectionate ode to the career of pioneering children’s television host and ventriloquist Shari Lewis from her early days through her twilight years. Encouraged at a young age by her magician father and musician mother, Lewis developed her own act, eventually leading to a live television show, featuring Lamb Chop and her other puppet pals. D’Apolito delves into Lewis’ personal life, albeit not too deeply, choosing instead to focus on her many talents and decades-long career. We learn more about Lewis herself, through archival footage, as well as interviews with some of the individuals who knew her best, including her daughter Mallory. It’s an affecting portrait of a consummate performer who persisted through ups and downs, to entertain generations of children and adults. 

Rating: ***½. Available on DVD and Kanopy 

Devil Doll (1964) Ace journalist Marianne Horn (Yvonne Romain) and her editor/boyfriend Mark English (William Sylvester) investigate mesmerist The Great Vorelli (Bryant Haliday), who possesses an uncanny ability to hypnotize audience members. Part of Vorelli’s act involves a ventriloquist routine with his creepy dummy Hugo (particularly disturbing is a scene when he makes the inanimate puppet stand up on its own). Things go from bad to worse when she falls under Vorelli’s control, much to the dismay of Mark. The film is filled with unnerving moments, with palpable tension between ventriloquist and dummy. Will Hugo obey his master, or is the master a slave to Hugo? The film succeeds, largely due to Haliday’s excellent performance as the deranged Vorelli, incapable of having a relationship with a woman that doesn’t involve some form of coercion.

Rating: ***½. Available on Blu-ray, Prime Video and Tubi

Legend of the Sacred Stone (2000) In this fast-paced Taiwanese movie by writer/director Chris Huang, martial arts masters from around the region are recruited to keep a mystical stone from falling into the wrong hands. The fight scenes are surprisingly believable, thanks to a skillful combination of puppetry, swift editing, and CGI enhancement. Huang’s visually stunning film is hindered only by the thin story and expressionless puppet faces. These are minor quibbles, however, when the film looks this good.

Rating: ***. Available on DVD (Import)

Head (2015) Not to be confused with the trippy 1968 Monkees movie with the same name, this mildly amusing slasher/comedy might be worth a look. Stop me if you’ve heard this one before: a group of aimless, horny 20-somethings go camping in the same woods where a series of grisly murders took place. Now they’re struggling to survive as their friends are picked off, one-by-one. But here’s the twist: They’re all puppets. Filled with loads of puppet sex and gore, you can’t blame director/co-writer Jon Bristol from trying to keep us entertained. Despite the cheap production values and hackneyed script, it’s hard not to admire the effort on a certain level. 

Rating **½ stars. Available on DVD and Tubi

Let My Puppets Come (1976) Hoo-boy… Where to start with this one? Perhaps no other movie from the ‘70s so thoroughly embodied that weird and wonderful decade’s try-anything approach. Of course (to paraphrase a line from Jurassic Park), just because they could doesn’t mean they should have attempted a softcore porn film filled with puppets. If you can’t resist the urge to see this (hey, I’m not stopping you), be aware that there are two versions floating around: the original 75-minute cut, and the heavily edited 45-minute version. 

Fun Fact: Among the composers who contributed to the soundtrack is the multi-Academy Award-nominated Alan Silvestri (Who Framed Roger Rabbit, Back to the Future, The Abyss, and many more), who’d probably prefer if you didn’t know about his involvement with this movie. 

Rating: **. Available on Blu-ray (Out of Print) and other, less-reputable sources (Don’t ask).

Black Devil Doll from Hell (1984) Not to be confused with 1964’s Devil Doll (see review above), this shot-on-video wonder from producer/writer/director/composer Chester N. Turner is a head-scratcher. While poking around a second-hand shop, Helen Black (Shirley L. Jones), a devout young woman, discovers a ventriloquist’s dummy with dreadlocks. She inexplicably takes it home, despite a warning from the shopkeeper that it always finds its way back to the store. According to the backstory, the doll, which originated from the West Indies, could grant someone’s deepest desire. Of course, the last bit is just an excuse to make the dummy a sex maniac. Now, the once-virginal Helen can’t get enough of his special kind of lovin.’ Black Devil Doll from Hell is cheap, lewd, and unpleasant. Is it so bad it’s good, or just plain bad? I’ll let you be the judge, but if you decide to see it, don’t say I didn’t warn you. 

Rating *½. Available on DVD (Out of Print) and Internet Archive

 

 

Documentary December Quick Picks and Pans

Monterey Pop (1968) Before there was Woodstock, there was the Monterey Pop Festival, held over three days in June 1967. D.A. Pennebaker’s groundbreaking Monterey Pop features an impressive lineup of artists, including Jimi Hendrix, Janis Joplin, The Who, and many more, providing an unprecedented snapshot of the era. While many of the audience members appear to be under the influence of one substance or another, they seem to be having a great time. Some highlights include Hendrix burning his guitar, Otis Redding working the audience like no one else can, culminating in a mesmerizing performance by Ravi Shankar. It’s hard not to enjoy this snapshot of a complex time that somehow seems simpler to modern eyes. 

Rating: ****½. Available on Blu-ray and DVD

 

The Times of Harvey Milk (1984) On November 27, 1978, openly gay San Francisco politician Harvey Milk was assassinated, along with Mayor Moscone, by disgruntled political rival Dan White. The film chronicles the events leading up to the incident, as well as the miscarriage of justice that followed. Interviews with friends and colleagues, interspersed with archival footage of Milk, provide a fascinating portrait of the unique politician. The most striking thing about Rob Epstein’s documentary is how contemporary it seems, with attitudes and issues that are just as relevant today. Sadly, it also reveals how little things have changed in the ensuing decades. If this film doesn’t make you angry, you’re not paying attention. 

Rating: ****½. Available on Blu-ray and DVD

Capturing the Friedmans (2003) What secrets dwell just beneath the surface of a seemingly perfect upper-middle-class family living in upstate New York? Director Andrew Jarecki uncovers the horrible truth, layer by layer, starting with family patriarch Arnold Friedman. As an accomplished jazz musician, schoolteacher, and family man. He seemingly had it all. Through the family’s home movies, we see the celebrations and the anguish, revealing details about their dysfunctional relationship. With its themes of incest, pedophilia and child pornography, Jarecki’s purposely ambiguous film is often difficult to watch but impossible to look away, exploring the gray areas about who knew what, and how much. 

Rating: ****. Available on DVD 

 

Our Body (aka: Notre Corps) (2023) Claire Simon’s profile of a gynecological ward in a French public hospital provides a compelling fly-on-the-wall view of the wide range of patients and cases that come through its doors on a daily basis. Simon’s lens doesn’t shy away as we witness the entire life span represented by the hospital’s patients, with teenage pregnancy, birth, gender-affirming care, and cancer patients. Thanks to the brave individuals who agreed to be filmed (including the film’s director), we see some of them at their worst or most physically and emotionally vulnerable moments (one especially touching moment involves a doctor’s conversation with a terminal cancer patient who must end her chemotherapy). Anyone wishing to enter the medical profession or just wanting to know what goes on behind the scenes at a public hospital should find this documentary engaging. Don’t be dissuaded by the film’s almost 3-hour running time; it’s time well spent. 

Rating: ****. Available on Kanopy 

Catfish (2010) New Yorker Nev Schulman forms an online friendship with Megan, a young woman and her family in Michigan. As their relationship progresses, he begins raising questions about the veracity of the people and events in her life. His attempt to track her down leads to more questions and startling answers. It could have been someone’s idea of a sick joke, but the reality is far from black and white, as the truth behind the deception is surprisingly poignant. With each twist and turn, filmmakers Henry Joost and Ariel Schulman illustrate how fabrication becomes more important than fact. As others have observed, it’s best to go into this movie cold, allowing the details of the story to naturally unfurl. 

Rating: ***½ . Available on Blu-ray and DVD

Spooktacular! (2023) Director Quinn Monahan and writer Gail Jorden explore the rise and fall of the first-of-its-kind horror-themed amusement park, Spooky World, in Berlin, Massachusetts. We learn about the park’s brief but memorable run through interviews with former employees and celebrities, as well as its charismatic proprietor, David Bertolino (described as a “cross between Walt Disney and Stephen King”). Despite friction from the rural community, Spooky World remained a wildly popular fixture, hosting many members of horror royalty, including Tom Savini, Linda Blair, Kane Hodder, and Elvira, to name just a few. It’s enjoyable, if a bit superficial, glossing over many details (We don’t really hear much from its detractors). 

Rating: ***. Available on Prime Video

Moana (1926) Not to be confused with the animated Disney film with the same name (although it could have easily influenced it), filmmakers Frances and Robert J. Flaherty (who previously directed 1921’s Nanook of the North) turn their camera on the South Pacific island community of Safune, located on the Samoan island of Savaiʻi. The sound version, recorded in the same location 50 years later, was presented by Flangan’s daughter, Monica. The film presents an idealized profile of island life, focusing on the title character, a young man entering adulthood. Not unlike Nanook, Moana perpetuates the “noble savage” stereotype, with staged scenes of the characters playing versions of their real-life selves. 

Rating: ***. Available on Blu-ray and DVD

 

Elliott Smith – Heaven Adores You (2014) Nickolas Dylan Rossi covers the life of the brilliant singer/songwriter whose life was cut tragically short. Consisting largely of talking-head interviews with Smith’s friends and associates, interspersed with short clips of the artist, the film takes a by-the-numbers approach, keeping the musician at arms’ length. With only snippets of his songs throughout the soundtrack, there’s little left to illustrate his music to fans or the uninitiated. Outside of the predictably grim portrait of a troubled musician, the documentary has about as much depth as an old episode of VH-1’s “Behind the Music,” providing little insight about what made him tick, or the mystery surrounding his untimely demise. There must be a better story left waiting in the wings about this complex musician, but for now, this will have to do. 

Rating: 3 stars. Available on Blu-ray, DVD and Prime Video

South

 

(1919) Directed by Frank Hurley; Starring: Ernest Shackleton, Frank Worsley, J. Stenhouse, Leonard D.A. Hussey, James McIlroy; Available on Blu-ray and DVD 

Rating: **** 

“We have been compelled to abandon the ship, which is crushed beyond all hope of ever being righted, we are alive and well, and we have stores and equipment for the task that lies before us. The task is to reach land with all the members of the Expedition. It is hard to write what I feel.” – Ernest Shackleton (excerpted from Shackleton’s journal) 

As one of the last (mostly) unspoiled frontiers on Earth, Antarctica remains an icy enigma, too remote and inhospitable for permanent residence, yet oddly irresistible for those intrepid enough to test their mettle against the elements. South (1919) chronicling the travails of Sir Ernest Henry Shackleton and his crew, is as close as many of us might care to get to the South Pole. This was Shackleton’s third attempt to conquer Antarctica (his previous unsuccessful attempts were in 1907 and 1909). When Norwegian explorer Roald Amundsen and his team reached the South Pole in December 1911, they raised the bar for Shackleton, for what would be the most ambitious expedition to date – an overland crossing of the Antarctic continent.* The 28-man crew** of the Endurance*** set out for Antarctica from Buenos Aires, Argentina in October1914. Although they never reached the continent, stopping just shy of their initial goal, what followed was a testament to Shackleton’s leadership and his crew’s fortitude. Thankfully for the rest of the world, Australian photographer Frank Hurley was there to capture the voyage for posterity, through motion picture footage and stills.*** 

* Fun Fact #1: Described by Shackleton as “the last great polar journey that can be made,” he intended to start in Vahsel Bay and after a hike across the continent, end at the Ross Sea. 

** Fun Fact #2: The 28^th crewmember was a young Welsh stowaway, Percy “Perce” Blackborow, who had been rejected due to inexperience. When he was discovered three days into the voyage, Shackleton angrily confronted him, stating “On missions like this, stowaways were the first to get eaten.” 

*** Fun Fact #3: Built in Norway in 1912 and originally named Polaris, the ship was purchased by Shackleton for £14,000 and re-named Endurance. 

**** Fun Fact #4: The world almost missed the opportunity to see photographic evidence of Shackleton’s voyage. When the order was given to abandon ship, Frank Hurley was forced to leave all his photographic plates behind. He later returned to the Endurance, wading through icy waters and broken timbers inside the doomed ship to retrieve his photographic plates. Because of their considerable bulk, he could only take 120 of the 550 recovered plates, while the others were destroyed. 

Long before the immersive experiences of IMAX movies or state-of-the-art theme park attractions, South was the next best thing to exploring the seventh continent first-hand.  From scenes depicting the crew awkwardly setting up a tent atop an ice floe, to retrieving biological specimens from the frigid waters without gloves, you can practically feel the bitter cold permeating every image. Perhaps the most haunting imagery involved still photos of the Endurance, trapped in the ice for 11 months, before succumbing to the elements and sinking into the Weddell Sea.* Seeing the once proud ship becoming one with the landscape is surreal and painterly. 

* Fun Fact #5: In 2022, the wreck of the Endurance was located at a depth of 10,000 feet (3 kilometers), remarkably intact. 

The crew’s struggle for survival under the harshest possible conditions, often required desperate measures. To supplement their dwindling food supplies, the crew’s diet included seals and penguins.* With the exception of frozen strips of seal meat being harvested, the audience is spared most of the gory details. One of the biggest omissions was an explanation why the expedition’s 69 sled dogs disappeared about two-thirds of the way in. Considering the film was intended for a broad audience, it was probably the most sensible decision, if not the most truthful.** 

* Fun Fact #6: At least one crew member, Thomas McLeod, refused to eat penguins, due to an old mariner’s superstition that the birds’ bodies contained the souls of dead fishermen.   

** Not-So-Fun-Fact: With food running out and no viable way to support the dogs, the expedition leaders made the difficult decision to have them shot and subsequently eaten (Sorry, fellow animal lovers).

Without their ship or a means of communicating to the outside world, the crew were left stranded on Elephant Island. How Shackleton’s crew were rescued was an ordeal that could have merited its own documentary.* Shackleton, along with five crew members, made the arduous 800-mile journey in the 22-foot lifeboat, “James Caird,” from Elephant Island to South Georgia Island to seek help, braving tremendous storms, immense waves, and continual ice build-up (which someone had to break up by hand, while sitting on the edge of the boat). Once they arrived on its shores, Shackleton and a couple of his more able-bodied men made a 36-hour trek over miles of uncharted mountainous terrain to reach the whaling village of Stromness. In August 1916, help finally arrived on Elephant Island, with Shackleton on the Chilean navy ship Yelcho. 

* Fun Fact #7: Because Hurley did not accompany Shackleton on the trek to South Georgia, all footage of the island was filmed after the fact, in 1917.

Although we’re introduced to the names of many of the crew members, we never get more than a cursory description. The only exception was meteorologist L. Hussey, who entertained the crew with his banjo (described as the ship’s “vital mental tonic”). South focuses on the romance of adventure, rather than many of the nasty bits in-between. After describing Shackleton’s adventure on South Georgia Island, the film spends a little too much time (filmed after the fact) depicting the wildlife that managed to thrive there. With most modern viewers already accustomed to decades of nature documentaries (Thanks, Marlin Perkins and David Attenborough!), it’s important to remember that the world was a much more mysterious place in the early 20^th century, and South afforded audiences the opportunity to see animals they had never seen before. As imperfect as South may be, we’re fortunate to have this window into another time and place. It’s almost miraculous that the entire crew survived their ordeal under tremendous hardship and South remains a tribute to human persistence and resilience in the face of adversity, serving as a reminder that there are still some places left on Earth we haven’t managed to conquer. 

 

Sources for this article: Blu-ray commentary by film historian Luke McKernan, “Endurance: Shackleton’s Lost Ship is Found inAntarctic,” by Jonathan Amos, BBC (March 8, 2022); “Endurance: The Newport Stowaway on Shackleton Shipwreck,” by Neil Prior, BBC (February 26, 2022); “Shackleton’s Endurance,” Falklands Heritage Maritime Trust (website) 

 

 

Werner Herzog Month Quick Picks and Pans

 

The Enigma of Kaspar Hauser (1974) In the early 19^th century, a strange man with limited speech and mobility mysteriously appears in a small German village. Gradually, he learns how to interact with the people in the village and express his thoughts verbally. He meets resistance from some of the townspeople and local clergy, who seem more irked than curious about his unorthodox observations, untainted by socialization. This fascinating character study is anchored by a raw, emotive performance by Bruno S. as Kaspar Hauser, who communicates so much with movement and facial expressions. Herzog’s film hits all the right notes, with poignant moments and touches of unexpected humor. 

Rating: ****. Available on DVD and Tubi

How Much Wood Would a Woodchuck Chuck? (1976) Werner Herzog shines the spotlight on the world of cattle auctioneers, with this engaging, deceptively simple documentary. We get a taste for the varied styles of several participants at the World Livestock Auctioneer Championship, nestled in Pennsylvania Amish country. The contestants’ rapid speaking style has a rhythmic, musical quality that mesmerizes the viewer – a language, Herzog asserts, created through capitalism. 

Rating: ****. Available on Prime Video and Tubi

 

Woyzeck (1979) Klaus Kinski stars as the titular Woszek, a 40-year-old career soldier in the Polish army. His life is filled with endless drills and derision from his superiors, much to the chagrin of his bored wife, Marie (Eva Mattes). His patience is stretched to the breaking point when Marie has an affair with his commanding officer. Kinski does an admirable job portraying a man who’s out of step with his peers, displaying a level of thoughtfulness and sensitivity ill-suited for military life.   

Rating: ***½. Available on DVD, Prime Video and Tubi

 

La Soufrière (1977) Herzog visits the tiny Caribbean island nation of Guadeloupe, on the cusp of a massive volcanic eruption. While the majority of the island’s residents were evacuated, we hear from the few who decided to stay behind to prepare for whatever fate awaited them. Shots of the abandoned streets of the main town conjure imagery of a post-apocalyptic world. While filmmaker and crew prepare for the worst, we learn about a similar catastrophe on a nearby island in 1902, when a population of 30,000 was wiped out in an instant. Herzog captures the ominous dread of meeting death head on, proving Alfred Hitchcock’s adage that “There’s no terror in the bang, only the anticipation of it.”  

Rating: ***½. Available on Prime Video and Tubi 

 

Herdsmen of the Sun (1989) Herzog introduces us to the Wodaabe, a nomadic tribe who roam the Sahara Desert, following the whims of their cattle. He focuses his lens on a traditional ritual, in which the men of the tribe attempt to woo the women with dance and elaborate makeup and costumes. The documentary seems a bit thin with its short running time (only 52 minutes), but it’s a nice introduction to a group of people and customs that few westerners have ever witnessed. 

Rating: ***½. Available on Tubi

 

My Son, My Son, What Have Ye Done (2009) Michael Shannon stars as Brad Macallam, an unbalanced man who lives with his overbearing mother (Grace Zabriskie). The David Lynch-produced film traces Macallam’s descent into madness and murder, leaving clues but not necessarily the causes of his actions. In addition to Shannon, Herzog assembled a phenomenal supporting cast (including Willem Dafoe, Chloë Sevigny, Udo Kier, and Brad Dourif) for his slow-burn mystery/drama, which seems to suggest something lofty, but never quite gets to the point. 

Rating: ***. Available on Blu-ray and DVD

Cave of Forgotten Dreams

 

(2010) Directed by Werner Herzog; Written by Werner Herzog and Judith Thurman; Starring: Werner Herzog, Jean Clottes, Julien Monney, Jean-Michel Geneste and Michel Philippe; Available on Blu-ray and DVD 

Rating: ***½

 

“There was intense competition to film it, particularly from French directors, all good, serious candidates, and I didn’t think I was in with much of a chance because the French think very territorially when it comes to their patrimoine. All the experts who had explored the cave were French, and my first hurdle was to gain their approval, then that of the regional government of the Ardèche.” – Werner Herzog (from his memoir, Every Man for Himself and God Against All) 

The closest thing we have to a time machine in which we can visit our ancient ancestors is examining the traces they left behind. The Chauvet Cave paintings in southeastern France, dating back approximately 32,000 years, were discovered as recently as 1994, and are among the oldest known examples of cave art.* The Paleolithic Period paintings remain perfectly preserved, due to a rockslide 20,000 years ago, which sealed Chauvet from the outside world. Now managed by the French government, the original entrance has been widened but sealed tight like a bank vault, with a locked metal door. In order to maintain the cave’s pristine appearance, access is restricted to a fortunate few with legitimate scientific interest.**. Facing competition from French filmmakers, Werner Herzog had to convince then French Minister of Culture, Frédéric Mitterrand, that he was the right person for the job. The results (originally presented in 3D) are the closest look most people are likely to get inside Chauvet Cave. Due to strict regulations, director/co-writer Herzog worked with a crew of four (including himself). They were only permitted to film for a maximum of four hours per day for less than a week. Within the confines of the filming window, they were forbidden to touch anything, or venture away from the confines of a two-foot-wide walkway, which ran the length of the 1,300-foot cave. 

* Fun Fact #1: While the paintings at Chauvet Cave are among the oldest known, two locations have them beat by a substantial margin: Maltravieso Cave in Spain (64,000 years) and the caves of Maros-Pangkep, South Sulawesi in Indonesia (51,000 years). 

** Not-So-Fun Fact: In 1963, French authorities closed another archaeological wonder to tourists, Lascaux Cave (featuring 17,000-year-old-artwork), as the accumulated breath of multiple visitors ultimately caused mold to grow on the cave walls. 

*** Fun Fact #2: Herzog’s shoot almost turned to disaster when the battery pack used to power the camera’s memory bank failed. Instead of missing out on four hours of filming, his crew fashioned a new battery from available parts, using only a tiny screwdriver and Swiss Army knife as tools.

Cave of Forgotten Dreams provides insight into the nature of art as a means of human expression, confirming that such concepts as perspective and illusion of motion were employed by ancient artists. We can see what appears to be the birth of animation in the painting of a bison with eight legs, showing the range of motion. The cave paintings are also a document of a world that has come and gone, depicting animals that have long since vanished from the Earth, such as mammoths, wooly rhinos, and cave bears. The mind reels with speculation about who the individuals were who adorned its walls with artwork, and what sort of rituals the cave was used for. We’ll never know the names of the artists, their customs or culture, but for one curious artifact. Several paintings include the handprint of a single individual. Akin to their signature, the handprint uniquely identifies the artist because of a crooked pinkie finger on their right hand. We can also infer that the artist stood about six feet tall, based on the placement of the handprints throughout the cavern.

We hear from several archeologists and other professionals who share a special affinity for Chauvet cave, and the paintings within. One of the most intriguing individuals interviewed by Herzog is archaeologist Julien Monney, who started out working for a circus as a unicyclist and juggler. Reminiscent of Herzog’s superior documentary, Encounters at the End of the World (2007), the interview underscores the sort of eclectic professionals working toward a common goal. Monney addressed the psychological and spiritual impact of his initial viewing of the paintings, stating that he needed to take several days away from the cave to process the images.

Compared to some of his other documentaries, Herzog seems to take more of a backseat approach to the film, letting the cave paintings speak for themselves. Herzog, himself, is not featured as prominently, and his commentaries seem relatively sparse. One of the director’s trademarks, dwelling on shots for a protracted length of time, is present, although an overabundance of these shots (which repeat themselves several times) will likely test the attention spans of many viewers. While it’s a fascinating subject, the material is stretched a bit thin for a 90-minute documentary, which might have been better served by a shorter running time. Herzog goes off track during the last half-hour, discussing another cave in nearby southwestern Germany, as well as a greenhouse project several miles down river from the cave entrance. Regardless of the pacing issues, it’s virtually impossible not to be entranced by the subject matter. At its best, Cave of Forgotten Dreams is an almost metaphysical journey that transcends time, space, and human thought, providing a fascinating glimpse of something few of us will ever experience first-hand. 

 

Sources for this Article: Every Man for Himself and God Against All, by Werner Herzog, “Narrative Cave Art in Indonesia by 51,200 Years Ago,” Nature (July 3, 2024)

Non-Fiction November Quick Picks and Pans

Dig! (2004) Ondi Timoner’s warts and all documentary chronicles the chaotic friendship which became a rivalry between Courtney Taylor-Taylor from The Dandy Warhols and Anton Newcombe from The Brian Jonestown Massacre. Both bands emerged in the late ‘90s alternative music scene with promising word-of-mouth, but self-destructive behavior (often mixed with drug and alcohol abuse) hastened Newcombe’s downfall. It’s an unflinching look at the fickle world of the music industry and the elusive allure of fame, along with the physical and emotional toll it takes on the performers. 

Rating: ****. Available on DVD, Kanopy

The Celluloid Closet (1995) This fascinating film, based on the book by Vito Russo and narrated by Lily Tomlin, examines the portrayal of LGBTQ+ characters in Hollywood from the silent era to the present, featuring interviews with actors, writers and other filmmakers. Using various film clips, The Celluloid Closet illustrates how the presence of queer people was often coded in early Hollywood. It also tracks the progression of queer stereotypes in cinema, which were often coded, and more-often-than-not employed for comic effect, or in later years, as convenient villains. It’s a reminder of how far we’ve progressed and how far we haven’t. 

Rating: ****. Available on DVD and Tubi

The Witch of King’s Cross (2020) Documentarian Sonia Bible profiles the intriguing life and work of Rosaleen Norton – an artist who lived life on her terms. Norton raised eyebrows in conservative ‘1950s Sydney, Australia, with her provocative, sexually charged artwork (often featuring herself) and practice of pagan rituals (including sex magic), based on Aleister Crowley’s teachings. Her unorthodox creative practices (which frequently involved altered consciousness) resulted in jail time, censorship and harassment from local authorities. While being a counterculture pioneer would have been difficult for a man, the consequences were especially harsh for a free-spirited independent woman.   

Rating: ****. Available on Amazon Prime

 

Botero (2018) Don Millar and Hard Snider take an intimate look at one of the world’s most widely recognized modern artists, Fernando Botero, known for his distinctive style of exaggerated, puffy figures. Love him or hate him, there’s no mistaking a Botero painting or sculpture. Originating from a poor family in Colombia, we hear from the artist himself, as well as family, friends and critics. The film examines Botero’s unique style in detail, delving into his creative process, and demonstrating how something viewed as playful or comic could also be subversive. It's a profile of an artist who consistently marched to the beat of his own drum. Anyone who creates, especially if they ever questioned the merit of their own work, should find something inspiring in this film.   

Rating: ****. Available on DVD and Kanopy

An Honest Liar (2014) Directors Tyler Measom and Justin Weinstein take an intimate look at the life of James Randi (aka: “The Amazing Randi”), a former stage magician who embarked on a decades-long crusade to debunk self-professed faith healers, spiritualists, and others (including archrival Yuri Geller) who preyed on the desperate and gullible. By applying a scientific method to his investigations, he demonstrates how anyone, no matter how smart or educated, can be fooled. The documentary takes an unexpected turn when we learn about his confederate in investigations and long-time partner, José Alvarez, who himself perpetrated a profound deception. It’s a very human profile of a larger-than-life personality. 

Rating: ****. Available on DVD (Out of Print) and Amazon Prime 

 

The Silent World (1956) This Oscar-winning documentary provides a glimpse at the mysterious, elusive world beneath the sea. Join French explorer Jacques-Yves Cousteau and his team (who supplied the inspiration for the eponymous fictional explorer in Wes Anderson’s The Life Aquatic with Steve Zissou), as they reveal a world of startling color and contrasts. Audiences at the time were treated to an unprecedented peek at an environment few had seen before. The Silent World unfortunately shows its age with its dated attitudes (such as the crew killing sharks feasting on a dead baby whale, using giant Galapagos tortoises as footstools, or dynamiting a reef to collect sea life), which wouldn’t pass muster in a David Attenborough wildlife film. Despite these missteps, it still entrances after all these years.    

Rating: ***½. Available on Blu-ray and DVD

The Dark Glow of the Mountains (1985) Filmmaker Werner Herzog turns his camera on mountain climbers Reinhold Messner, Hans Kammerlander, and a team of hand-picked explorers, as they attempt to conquer the treacherous and elusive summits of Gasherbrum I and II in Pakistan. Herzog attempts to ascertain why these climbers would risk frostbite and death without giving clear reasons (other than it’s there). While a little too brief at just 45 minutes, The Dark Glow of the Mountains is a meditation on the spirit of adventure, along with the accompanying dangers and loss (exemplified by a painful moment when Messner recounts having to tell his mother that his brother perished in a 1972 climbing accident). 

Rating: ***½. Available on DVD and Tubi

Journey Into the Beyond (1975) One of many pseudo-documentaries released in the 1970s, Journey Into the Beyond, narrated by John Carradine, takes us around the world to witness allegedly supernatural events, visiting psychic healers, weeping statues, a séance, and other unexplained phenomena. More entertainment than pure documentary, the film suffers credibility from its lack of counterpoint to the purportedly “real” occurrences depicted throughout.  the screen. While the whole thing should probably be regarded with a grain of salt, it features a fun little gimmick: auditory cues for those who are squeamish when something explicit appears and disappears onscreen. If nothing else, it’s a good companion to the Amazing Randi documentary, An Honest Liar (see above).   

Rating: ***. Available on Blu-ray, DVD and Tubi

Encounters at the End of the World

 

(2007) Written and Directed by Werner Herzog; Starring: Werner Herzog, Scott Rowland, Stefan Pashov, Doug MacAyeal, Ryan Andrew Evans, Kevin Emery, Olav T. Oftedal and Regina Eisert; Available on Blu-ray and DVD. 

Rating: **** 

“…Every single mechanic – highly professional. Every scientist – cutting edge of science, every cook who comes there, a dishwasher, are highly motivated people, sometimes you would find a retired judge who is doing the dishes… in the galley, and you know people who are working out there who have completely different and wonderful biographies.” – Werner Herzog (from Blu-ray Commentary)

How many of us have hoped, at one time or another, that we could relocate to some remote part of the planet, and disengage from the rest of society? On account of its distance from everything else and its brutal, unforgiving climate, the continent of Antarctica is the next best thing to living on an alien planet. Filmmaker Werner Herzog, who’s no stranger to traveling where others fear to tread, set his sights on the mysterious continent. Encounters at the End of the World visits one of the most unspoiled places on Earth, and the extraordinary individuals who call Antarctica home (at least, temporarily).

Herzog’s primary destination is the U.S. research base, McMurdo Station, the largest establishment on the continent. Looking more like a wild west mining town rather than a base for scientific research, McMurdo is comprised of multiple squat buildings, surrounded by a horde of bulldozers and other heavy equipment. An essential prerequisite for everyone who visits the base is “Snow School,”* a crash course in survival amidst the unforgiving Antarctic climate. In one exercise, several individuals are tied together by rope, shambling about with buckets on their heads. There’s a method to their madness, however, as it reasonably simulates an environment where snowstorms can be so fierce that you’re unable to see your hand in front of your face. It’s a comical sight to see them lose their way and become tangled in their own lifeline, but the lesson is deadly serious. They are acquiring skills that will keep them alive, learning to navigate through touch and coordinating together for a common goal. 

* Not-So-Fun-Fact #1: Herzog was almost seriously injured when, during survival training, he was thrown from his snowmobile, and the 800-pound vehicle rolled over him. He ended up with an injured hand, but surprisingly, no broken bones.

Who would want to live there? Herzog introduces us to an assortment of individuals who might appear as misfits to some yet find a singular purpose at the south pole. Meet Scott Rowland, a former Colorado-based banker who now drives a heavy wheeled transport dubbed “Ivan the Terra Bus.” He left his cushy, high-paying job because, in his words, “there was more to life than money.” We also hear from Philosopher/forklift-driver Stefan Pashov, a Bulgarian immigrant with a PhD in Philosophy who “fell in love with the world” through his experience. Another fascinating person is David Pacheco,* a journeyman plumber whom Herzog referred to as the “quintessential Antarctic man.” He’s amiable and soft-spoken, with strong ties to his mixed Apache and Mayan heritage, and an indispensable team member. But it’s not all work and no play at the bottom of the world, as demonstrated by computer expert/world traveler Karen Joyce, who performs in a talent show with her “human luggage” act. Reminding us that no creature comfort is trivial, Herzog speaks with cook/filmmaker Ryan Evans who maintains the soft serve ice cream machine called “Frosty Boy.”** It’s the little things in life (or the absence thereof) that make a difference.   

* Not-So-Fun-Fact #2: According to Herzog, Pacheco suffered a serious industrial accident not long after filming, when he was electrocuted.   

** Fun Fact #1: In his commentary, Herzog admitted being hooked on the frozen dessert, despite its questionable nutritional value.

Without being a “nature” documentary per se, Encounters at the End of the World provides a glimpse of the incredible diversity of life that thrive under such inhospitable conditions (at least to us frail humans). Herzog follows a biologist embarking on his final Antarctic dive before he passes the torch to younger scientists. Preparing to plunge into the 28-degree (Fahrenheit) water is akin to suiting up for space, requiring multiple layers of protection. Underneath the polar ice* we’re treated to a beautiful array of life that manages to thrive in one of the harshest environments, including brittle stars, graceful jellyfish and curious seals. In another segment the soundtrack comes alive with the remarkable sounds produced by seals swimming beneath the ice. Their unearthly calls seem more like alien transmissions from another planet rather than the utterances of sea mammals. Herzog didn’t want his film to be another March of the Penguins with cuddly depictions of the waddling birds. Despite his vows to steer away from the ubiquitous critters, he talks with biologist David Ainley, who seems to relate more with the penguins in the colony he’s studied for the past 15 years, compared to his human colleagues. In one oddly poetic scene, Herzog focuses on a lone penguin that chooses not to follow its companions. Instead, it wanders off into the vast empty landscape, presumably to its imminent demise. 

* Fun Fact #2: Producer Henry Kaiser, an experienced research diver, provided the stunning underwater footage.

In a land that is inherently unpredictable, the only constant is that Antarctica can kill you in countless ways. This point is illustrated by volcanologist William McIntosh, perched atop the 12,500-foot summit of Mt. Erebus, an active volcano. McIntosh provides a terrifying description of how to avoid “lava bombs,” which intermittently spew from the volcano’s depths (never turn your back on them, and step out of the way). We witness one of the accidental monuments to human exploration and hubris, with the remnants of Ernest Shackleton’s doomed 1908 expedition. Shackleton’s hut remains intact with articles of clothing and tinned food perfectly preserved, as if awaiting his team of explorers to return.  

Encounters at the End of the World is as much about the people who choose to live and work in one of the world’s most unforgiving environments as it is about the sights and sounds of Antarctica’s icy landscape. In many ways, these individuals mirror Herzog’s own career, as a fiercely independent filmmaker who consistently follows the beat of his own drum, approaching each subject with insatiable curiosity. In one reflective moment following his visit to Amundsen-Scott South Pole Station, Herzog muses about what future civilizations might think of the artifacts we left behind, implying that our time on this planet is limited. It’s an oddly comforting epitaph, knowing there’s still one place on Earth that remains (mostly) unspoiled by human intervention and will likely outlast us.   

 

Source for this article: Blu-ray commentary by Werner Herzog, Henry Kaiser (Producer), and Peter Zeitlinger (Cinematographer)

Wisconsin Death Trip

(1999) Written and directed by James Marsh; Based on the book, Wisconsin Death Trip, by Michael Lesy; Starring: Ian Holm, Jeffrey Golden and Jo Vukelich; Available on DVD 

Rating: **** 

“…I was looking for stories that cut across 100 years and resonated with contemporary anxieties about guns, or religion, or drug-taking. I thought that was an important way of making the film more contemporary in its concerns.” – James Marsh (from DVD commentary)

When folks pine away for the “good old days,” what they really mean is they long for a mythical, presumably simpler time when things were safer and everyone knew their neighbors. The reality is a different proposition altogether. Beneath the Norman Rockwell-esque exterior of American small-town life, we see a microcosm of the same problems that have plagued our society since its inception. Basing his film on the 1973 book Wisconsin Death Trip by Michael Lesy, documentarian James Marsh set his sights on the town of Black River Falls, Wisconsin, and some of the more sordid events that occurred there between 1890 and 1900. Told through newspaper articles of the time, Wisconsin Death Trip shatters the myth that late 19^th century America was anything but peaceful and idyllic, painting a portrait of madness, violence and murder.

 

Shot in Wisconsin over an 18-month period, the film starts and ends with winter and the harsh weather conditions that become the backdrop for the various stories. Ian Holm narrates, providing a voice for Black River Fall’s English immigrant editor, Frank Cooper, who observed and wrote about the grim events. Marsh bridged vintage photographs with 16 mm black and white footage, recreating the look and feel of the old photos. The film’s only color scenes provide brief glimpses of modern-day Black River Falls and its inhabitants. In contrast to the real photographs and filmed re-enactments,* the contemporary scenes purvey a stereotypical slice of Americana with a parade, high school prom, and trick or treaters ready for a night of begging for candy. Another scene undercuts this joyful mythos, with a barbershop quartet performing to a group of bored senior citizens – a captive audience in an assisted living facility. In the context of the morbid stories of the town’s past, we’re left to speculate about what secrets lie just beneath the surface. 

* Fun Fact #1: Marsh purposely wanted to seamlessly juxtapose the vintage photos with recreations of the events, so the viewer couldn’t easily distinguish what was real and what was fabricated.

 

Many of the stories in Wisconsin Death Trip are worthy of a horror movie. We see some of the stories behind the tombstones of individuals who died long before their time. With childhood mortality (often due to bouts of diptheria) rampant, grieving families kept their kids’ memories alive with post-mortem photography (also known as “memorial photography”). To modern eyes, the photos may seem ghoulish, but they were an important reminder of loved ones gone by – a memento mori for the living. While memorial photography may be a somber curio from the past many of the topics that were salient back then are sadly just as relevant today. The story of a 14-year-old boy and his younger brother who killed a farmer with a stolen rifle, or a jilted suitor who shoots his former girlfriend before turning the weapon on himself remind us that gun violence was and remains a ubiquitous part of the American landscape 

Black River Falls was predominately settled by German and Norwegian immigrants who brought their values and customs with them. A hallmark of the settlers was their unflappable stoicism amidst tough times. Depression and despair, commonly associated with widespread unemployment and poverty, sometimes resulted in desperate measures, such as the example of a despondent man who calmly laid down next to a stick of dynamite to blow his own head off. Murder, suicide and abuse were not uncommon occurrences in the town. One of the most curious traditions brought over from the old country was the practice of bringing along a rooster to help search for a drowning victim, with the rooster’s crows heralding the location of the missing body.

The sameness and boredom typified by small town life contributed to a number of eccentrics who shook things up. Consider the strange case of mother and schoolteacher Mary Sweeney (portrayed in several vignettes by Jo Vukelich) who experienced an abrupt shift in her personality after suffering a bump on the head. While in a cocaine induced semi-fugue state, she would smash windows around towns, although she claimed the drug “calmed her nerves.” A teenage girl, burned down the barns of two of her employers to express her dissatisfaction, and a middle-aged opera singer who once toured Europe constructed a stage in the middle of the woods for her performances. More often than not, this erratic behavior led to their internment at the local mental hospital.* 

* Fun Fact #2: The mental asylum featured in the film was a working institution.

Wisconsin Death Trip reminds us how normal life then and now can be monotonous, punctuated by events that force us to take notice. Dark and sometimes darkly funny, the film illustrates how outliers have always captured our attention. The kind of occurrences that made headlines then are the same kind of stuff that makes headlines now – everything trivial and significant (and anything in-between) becomes a form of public record. Thanks to phone cameras and easy access to the internet, anyone can get their fill of similarly morbid and bizarre stories to those presented in the film with a few clicks of a mouse. Wisconsin Death Trip not only lays bare our insatiable appetite for lurid news, but suggests even the most innocuous places can harbor the darkest secrets.

 

Sources for this article: DVD commentary by writer/director James Marsh and director of photography Eigil Bryld