Showing 51 - 60 of 228 annotations in the genre "Film"
Summary:The 2005 documentary film, The Devil and Daniel Johnston, tells the story of Daniel Johnston, a mentally ill artist whose drawings have been exhibited and sold worldwide; whose music has been recorded by Beck, Wilco, Nirvana, Sonic Youth, and Pearl Jam; and whose fans include the actor, Johnny Depp and Simpsons creator, Matt Groening. Diagnosed with manic depression complicated by delusions of grandeur, Daniel has spent the last three decades of his life in and out of mental hospitals. His wild fluctuations, downward spirals, and periodic respites are chronicled in the film through compelling interviews, home movies, recorded tapes, and performance footage. The title is an allusion to Johnston's intense Christian beliefs and his spiritual war with Satan.
Titicut Follies is the first major, full-length documentary by Frederick Wiseman, generally considered to be the most successful independent filmmaker in the United States. Titicut Follies (the title of the film is taken from an annual talent show produced by inmates and staff) was filmed at the Massachusetts Correctional Institution in Bridgewater, Massachusetts, a sprawling facility of four divisions with four distinct populations. Of the two thousand men warehoused there in the 1960s, only fifteen percent had ever been convicted of a crime, yet the institution was administered by the Department of Corrections rather than the Department of Mental Health--units representing very different and contradictory goals. At the time of the filming, there were only two psychiatrists and one trainee caring for the six hundred men in the hospital section.
Wiseman believed that public awareness of the terrible conditions at Bridgewater would create a demand for reform and improvement, and he gained unlimited access to the facility by representing the project to administration and staff as educational. The result is a bitterly critical, shockingly brutal documentary account of the prison hospital, and despite giving Wiseman permission to make the film, the Commonwealth of Massachusetts quickly moved to ban its release. In September 1967, just days before it was scheduled to be screened at the New York Film Festival, the attorney general filed an injunction that would permanently forbid Wiseman from showing the documentary to any audience. In 1969, the Massachusetts Supreme Court permitted limited use for doctors, lawyers, health-care professionals, social workers and students, and in 1991, the courts finally allowed its release to the general public. Titicut Follies is the only American film whose use has had court-imposed restrictions for reasons other than obscenity or national security.
Summary:Lance Clayton (Robin Williams) is an unsuccessful writer, receiving only a slew of rejections with every new novel he sends out. He teaches poetry to a small class of uninspired students (who try to use song lyrics they think he won't recognise in place of their own homework), and the principal is threatening to end the class. In addition, he is in a relationship with the art teacher (Alexie Gilmore) who has also caught the eye of a charismatic young writer and fellow teacher (Henry Simmons) who just published his first story in the New Yorker. Most disconcerting of all, his son (Daryl Sabara) is an unpopular, crude, lascivious teenager who seems to take little pleasure in being rude and mean to other people, but less pleasure in anything else. Except, perhaps, masturbation and auto-erotic asphyxiation.
Not quite the familiar home-for-the-holidays genre of a dysfunctional family, this one has a twist. April is a late-teen "problem" daughter who has run away to New York City where she lives with her boyfriend, Bobby (Derek Luke). April, played by a grungy, pigtailed, and probably tattooed Katie Holmes, has invited her parents, siblings, and grandmother to Thanksgiving dinner. This reunion, we gather, is the first since April left home. The family is coming to her lower East Side tenement, a situation that bristles with possibilities.
Moving back and forth from April's low rent apartment to tension in the crowded car as it moves from a scenic suburb to cityscape, viewers are able to watch both April's unskilled efforts as she struggles with the slippery turkey, a can of cranberry sauce, crepe paper decorations, a broken oven, etc. and an inexplicable drama slowly unfolding in the crowded car. In spite of crisis situations in both settings, the separate family members do get together for a dinner that neither could have planned.
Summary:Mr. Watanabe (Takashi Shimura), a Tokyo City Hall bureaucrat near retirement, discovers he is dying of stomach cancer. Reflecting on his life, he finds that it has been empty, that he has not really lived. He devotes the time he has left to modestly exploring the possibilities of living. In a final effort to give his life meaning, he forces a reluctant bureaucracy to turn a badly drained neighborhood area into a park for children.
Paul Ehrlich (Edward G. Robinson) works as a hospital dermatologist, but his two passions are his family and his independent research into dyes and stains. When he abandons his call-duty to attend a lecture by Robert Koch, hospital officials have all they need to dismiss the annoying Jew. Koch, however, engages him to develop dyes to enhance the visibility of the newly discovered tubercle bacillus.
Ehrlich's health is broken by the research, but one success leads to another. With Emil von Behring (Otto Kruger), he works on a serum to save children with diphtheria. Moved by the anxiety of the mothers, he refuses to maintain untreated controls. His superiors are furious, but the state is grateful and he is awarded his own institute.
Ehrlich turns his attention to finding a "magic bullet" to treat syphilis, but his relationship with von Behring founders. Arsenic derivatives are endlessly modified until success is reached in 1910 with agent 606. A few deaths in treated subjects prompt Ehrlich's enemies to arrange a formal inquiry, but he is completely exonerated and reconciled with von Behring.
Monica (Kay Francis) is a successful gynecologist about to open her own clinic, to be designed by Anna (Verree Teasdale), her architect friend. But she is desperate to have a baby and gravely disappointed to learn that a specialist cannot help. Her husband, John (Warren William), leaves for Europe having just decided to end a secret affair with their mutual friend, Mary (Jean Muir), an accomplished pilot. John does not know that Mary is pregnant.
Without revealing the name of her child's father, Mary appeals to Monica. At first, without ever mentioning the word, she asks for an abortion, which Monica firmly rejects, telling her that having a fatherless baby will be "lovely!" After a failed attempt at aborting herself through a deliberate riding accident, Mary accepts seclusion in a private clinic. Complications arise.
Just as Monica decides that she must perform a (never-to-be-explained) procedure to deliver the child, she overhears Mary calling for John and suddenly understands the situation. Like "a machine," she responds to Anna's slap and command that she fulfill her professional duties--yet she is cold to Mary and refuses to see the baby. She makes plans to go to Europe to prepare for her new clinic. But Mary leaves her baby on Monica's doorstep and flies her plane out over the Atlantic never to be seen again. With John's approval, Monica cancels her trip to adopt the infant; however, she does not tell her husband to whom the child was born.
Screenwriter and director Ryan Fleck expanded his award-winning short film--Gowanus, Brooklyn-- into the 2007 feature-length drama, Half-Nelson. The central character of the film is Dan Dunne (Ryan Gosling) an eighth-grade history teacher struggling to make the subject relevant to his students at a troubled school in the heart of poverty-stricken, crime-ridden Brooklyn. His creativity in the classroom and his commitment to the students, predominately African-American and Latino teens, is real, without pretense or condescension. Rather than relying on canned curricula and traditional methodologies such as recounting battles and memorizing dates, he tries to inspire his students with the ideology of Karl Marx, the rhetoric of Martin Luther King, Jr., and the film footage of Mario Savio, student leader of the Free Speech Movement in the 1960s.
However, Dan's idealism and energy begin to wane, and he easily justifies anesthetizing himself in order to escape his growing recognition that he will likely make little or no difference in the world. As his drug use intensifies, Dan's connections with friends, family, colleagues, and eventually, students completely unravel. But his downward spiral into addiction is intertwined with and counterpointed by a complex and subtle relationship that develops between him and thirteen-year old, Drey (Shareeka Epps) when she discovers her teacher, Mr. Dunne, slumped nearly unconscious in the bathroom stall of the school gym, a crack pipe still in his hand.
After reading Tad Friend's article, "Jumpers: The Fatal Grandeur of the Golden Gate Bridge" in an October 2003 issue of The New Yorker, filmmaker Eric Steel became so fascinated by the mystery of the final, dark moments of a human being who makes the long journey across the bridge to his or her death that he finagled $100,000 worth of equipment and moved from New York to San Francisco. At 5:00 AM on a rainy New Year's Day in 2004, Steel and his ragtag crew set up their cameras, beginning a strange year-long vigil. Training telephoto lenses on the mid-span of the bridge, they peered intently from dawn to dusk, watching for "suspicious behavior" or a "sense of despair" among the crowds passing back and forth. During that year of filming, twenty-two people ended their lives, some caught on tape and some not; however, six attempts were thwarted by the film crew who became quite adept at indentifying potential victims and alerting the Bridge Patrol.
Photographed from multiple perspectives, at all times of day, and in all kinds of weather, the Golden Gate Bridge is the main character of this documentary film. It is formidable; it is magnificent; it is ominous; it is alluring. According to the film: "More people have chosen to end their lives [here] than anywhere else in the world." The sublime images not only capture the many facets and features of the structure, but they also illustrate the emotions and represent the psychology of the other narratives intertwined in the film: the stories of seven individuals who jumped from the bridge during the course of that year.
There is thirty-four year-old Gene, a haunting figure dressed all in black whose story begins and ends the documentary. Like the film crew, we watch him prowl the bridge day after day, his long dark hair whipping in the wind until he makes that final leap, a dramatic backward dive. There is forty-four year-old Lisa, who has suffered throughout her adult life with schizophrenia and who disappears off the bridge on Easter Sunday afternoon. And there is twenty-two year-old Philip whose parents relate the history of their son's struggle with mental illness.
In addition to using footage of the bridge being obscured by fog as an evocative image of the progressive suffocation of self, the filmmaker employs long shots of the island of Alcatraz to symbolize the prison of mental illness. Indeed, Philip's father describes his son's leap from the bridge as a release, "the only way he could get free."
This is the story of an adult brother and sister whose lives are indelibly marked by the deaths of their parents, killed in a car accident when the children were young. Set in the small town in upstate NewYork where they grew up, the film centers on a visit by Terry (Mark Ruffalo) to his older sister Sammy (Laura Linney). Portraying the vicissitudes of their relationship, the film traces the effects of loss on these two compelling individuals.
The film opens uncoyly with the scene of the parents' fatal car accident. Beneath the credits we watch the church-funeral, the two small children clutching hands while a Minister addresses the assembled.
When the story picks up, we are introduced to the lives of the now adult siblings. Sammy is still living in their parents' home, working in a local bank branch office and raising her son Rudy, a somber eight-year old who is becoming curious about his estranged father. Rudy, at eight, is the age Terry was when their parents died. Sammy is a reliable, loving mom, but otherwise her life appears constricted.
We find Terry, the younger brother who is now twenty-five years old, saying goodbye to a much younger girlfriend; he is leaving to borrow some money from his sister, whom he hasn't seen in two years. Terry, endearing but irresponsible, is leading a marginal existence, broke and unemployed, no fixed address.
A long restaurant reunion scene between the siblings reveals the texture of their relationship. We see that Sammy adores and worries about Terry; he is the light of her life. Terry conveys restless discomfort with his sister's expectations, experiencing her concern for him as a burden. He reveals that he has been out of touch because he was in prison for a while, and that he needs to borrow money to pay for a girl's abortion.
After learning that his girlfriend has attempted suicide, Terry sends her the money and decides to stay with Sammy for a while. In small increments, Terry and his nephew Rudy warm up to one another. Meanwhile Sammy's life takes an unexpected turn as she begins an affair with her controlling, married boss (Matthew Broderick); this begins just after an old flame of hers resurfaces with a marriage proposal. Neither relationship provides her much nourishment. Without easy answers, the film helps us connect the dots between Sammy's unsatisfying relationships with men and her adaptation to loss and to becoming the caretaking elder sibling.
Terry's visit goes wrong when, after a series of small irresponsible dealings with Rudy, Terry takes it upon himself to introduce the child to his estranged father, resulting in an ugly scene. Sammy, distraught, asks her brother to leave, as he "doesn't know how to be around an eight year old." The film ends with their farewell as they wait for Terry's bus out of town. Terry doesn't know where he is heading or when he'll be back. The scene presents a remarkable exchange of feelings as Terry comforts Sammy, telling her it's always good to know that she "is back here rooting" for him, and assuring her that "everything will be all right -comparatively." Sammy cannot draw him into her world or her life, and every parting with him feels permanent. They find their childhood connection in this scene--and the camera follows each of them for several beats after they separate, Terry on the bus and then Sammy driving to work. We feel them slowly absorbing the violence of severing--going back into themselves. Have they affirmed that in fact they can count on one another or reminded themselves (and us) that nothing can be counted on?
A surprise element in the movie is the character of Father Ron, a Minister played by writer-director Kenneth Lonergan. Sammy turns to the minister for guidance, seeking advice about her brother. In two surprising scenes, Father Ron injects into the narrative a sweetly earnest note regarding faith and finding meaning in our lives.