SUNDANCE 2005 REPORT # 1

It's been a hectic Dance this year. Many films to see and very little time to write. Here's the first review. There will be many more to follow.

NEW YORK DOLL

I've seen around seven films already, and while I normally write reviews in the order I see the movies, I've decided to do things a little differently this time. I wanted to start this report off with the best film I've seen thus far, and truth be told, I really can't imagine I'll be seeing a stronger offering at Sundance 2005. And if it's any indication, Kyle England was with me at the screening, and he felt the same way.

Before I get to the actual review, I'd like to set the stage a little bit. If you hadn't noticed I really love movies. I don't get paid buckets of cash for this gig, but that doesn't matter, I'm a fool for it. In a given year, I see as many movies as I possibly can, and this proves to be both a blessing and a curse. A blessing, because I'm into movies so much, but a curse because that innocence that comes with going to the movies for the first time, seems like a distant memory. New York Doll, I have to say, has completely reacquainted me with that feeling of wonder and I can't wait to tell you about it.

The past few years have seen the release of several LDS themed films and, generally speaking, I find myself bored by them. Why? I'm sure that a big part of it is that I'm not Mormon, and when I watch some of these pictures, I feel like the film makers are telling me that "this movie is not for me." I tend to pick up on sort of a smug undercurrent that ruins the entire experience for me. In other cases, I'll feel like I'm watching blatant church propaganda. Of course there are exceptions. "The Best Two Years" was a step in the right direction and I very much admired last year's indie gem "Saints and Soldiers." This World War II drama managed to avoid all of the provincial pitfalls that hinder LDS films and, as a result, broadened it's appeal.

While I'm not Mormon, I am married to a wonderful woman who is, and through the years, I've gained a pretty fair understanding as to how the church actually functions, and I have a number of dear friends who practice the faith. As is the case with a lot of religions there are many misconceptions, yet sadly most of the LDS films that have been released over the past several years have only served to alienate non-Mormons and strengthen many of these misleading stereotypes. Having said that, the new film "New York Doll" from director Greg Whiteley, represents everything I admire about the Mormon church and faith in general.

In this big-hearted and fascinating documentary, Whiteley finds a tale of hope and faith in the most unlikely of places; the world of rock n' roll.
The New York Dolls were a seminal punk band from the 70's and inspired everyone from The Clash to Morrissey. While they never experienced the same sort of mass popularity achieved by bands like The Sex Pistols, those in the know have the proper estimation of their place in the evolution or Rock music.

As is the case with many bands, the New York Dolls suffered the ravages of drug and alcohol abuse, battling egos, bitter in-fighting and even a couple of tragic deaths. Eventually, the group would break up and each surviving member would go in their own direction. Lead singer David Johansen would go on to create alter ego Buster Poindexter and enjoy success both as a musician and actor, while lead guitarist Sylvain Sylvain, would continue as a working musician. Bass player Arthur "Killer" Kane slipped into virtual obscurity, and he is the real focal point of this endlessly fascinating film.

Director Whiteley, actually met Kane at church, and upon talking to the musician, learned that he had joined the Mormon church in 1989. After a few discussions with Kane, Whiteley decided that his story would make for an interesting documentary, so he started following the one-time glam-rock pioneer around with a camera.

Whiteley opens the film by giving the audience insight into the history of The New York Dolls and what lead to their dissolution. For Kane, the parting was bittersweet as his life would take a dramatic down-turn. The sweet and sensitive bass guitarist would continue to have trouble dealing with unresolved tension between he and David Johansen for many years, until finally finding solace in the Mormon church.

This is where the story gets really interesting. Not long after Whiteley began shooting, British rock sensation Morrissey approached Kane and suggested a New York Dolls reunion. The ex-Smiths front man was heading a festival in the U.K. and thought the New York Dolls would be a perfect fit. The question was, could the surviving members of this legendary band be rounded-up and coaxed back together?

"New York Doll" is a mere eighty minutes long but is jammed-packed with information and layers upon layers of complexity. It's an insightful exploration into the world of rock n' roll and offers up candid interviews with the likes of a usually camera shy Morrissey, Bob Geldof, Chrissie Hynde, and members of The New York Dolls.

What moved me most though, was "New York Doll's" incredibly observant view of the LDS church. Simply put, this is the strongest Mormon themed movie I've ever seen. In fact, it transcends that particular genre altogether and becomes something much more. As I stated, often LDS themed movies are awash in gags that play off the various Mormon myths and stereotypes and are invariably stilted and preachy, but Whiteley has no interest in such business. His views of faith and the Church represent everything I've always admired about religion in general - how it offers comfort in times of heartache and grief and so often is there to fill a void in people's lives. These are the things that the Mormon religion held out for Kane, and this is deftly displayed throughout the movie.

Had Kane not found this sort of surcease from his former lifestyle, he might have died years ago. Instead, he found a way to soldier on. Quite obviously, there is a misconception about Mormons, and Whiteley doesn't shy away from this at all. There is a hilarious moment in which David Johansen makes a couple of playful jabs at Kane's religion, and the bassist's reply is equally hilarious. And Johansen isn't the only one who takes off-color potshots. I found it courageous that Whiteley left these moments in. It's clear that he's comfortable with himself and his religion, therefore, there was no reason to leave this stuff out.

Once Kane is asked to reunite with his old band mates, something magical happens. Weights are lifted and wonderful things begin to take place. Perhaps the most refreshing thing about the entire picture is how the people in Kane's spiritual life continue to support and encourage him in all his endeavors. Not once do they frown upon his decision to return to this place where he once desperately sought refuge from. I suppose it was this aspect of the film that I found the most touching, because, at least for me, Mormons were finally being portrayed for what they really are - normal human beings.

"New York Doll" is the perfect documentary. It's empathetic and extremely accessible (if the film is picked up, there is no reason in the world why it shouldn't receive a PG rating). It's also iron-clad proof that life is much stranger than fiction. While I don't belong to any one church, I do have faith. I've always believed in God and "New York Doll" offers up plenty of solid evidence that there is a higher power at work. The utterly unexpected set of circumstances that comprise a major portion of this picture, could not be explained away as mere coincidence. Most of what happens to Kane happens for a reason, and the bittersweet finale is both tough and hopeful. I am tap dancing around certain elements of this gem of a movie because I don't want to ruin anything. "New York Doll" is a film to be viewed and treasured. I was absolutely floored by it.

"New York Doll" is this year's "Dig," but it's sort of the flip side of that picture. While this movie does show some of the uglier aspects of the rock world (drugs and alcohol abuse, etc.), it's far more interested in pointing the camera toward the light at the end of the tunnel.

As a special added treat, Greg Whiteley was on hand for a Q & A following the screening, and he gave even more insight into Arthur Kane and The New York Dolls. He confessed that he wasn't an expert on the group when he started the project, but he did confess to being a fan of the bands that were directly influenced by them (i.e. The Clash). He also mentioned that Kane has written a book that's in the process of being published. Whiteley is a major talent, and carries himself graciously. He's incredibly humble, and it was an honor getting to meet him. I was fortunate enough to see the first screening of this picture, and it had yet to be signed to a distribution deal. That's going to change really quick. "New York Doll" is an expertly crafted story about faith found in a most unexpected place. It's only January, but I feel more than confident in calling this one of the very best movies of the year.

Grade: A

ELLIE PARKER

Starring Naomi Watts, Scott Coffey, Rebecca Rigg, and Chevy Chase

Ellie Parker generated substantial buzz during the earlier part of the festival, so I was quite curious to see what actor turned director Scott Coffey had up his sleeve. As it turns out, not a whole hell of a lot. Don't get me wrong. Ellie Parker isn't worthless, but there have been countless send-ups about the perils of the film world, that were far more effective.

Ellie Parker is actually based on a short that Coffey brought to the festival a few years earlier and features Naomi Watts as working actress Ellie Parker, a talented young woman waiting for her big break. When she isn't out busting her ass trying to impress casting directors, she's busy dealing with a dysfunctional relationship with her burn-out musician of a boyfriend, and spending time with her best friend, who also happens to be an actress.

Ellie Parker is a satiric look at the independent film making world (which is more or less a smaller-scale mirror reflection of the Hollywood system). It was shot on video, and for the most part, is shot hand-held. It reportedly took five years to finish the film. Why, I really couldn't say.

Naomi Watts actually started this film before she became as celebrated as she is today and I get the distinct impression that she would've turned it down had she been asked to do it more recently. But then I suppose that's the attraction of the film. Her performance is lively, and in particular, I loved the sequences in which she's cruising down the street in her car in between screen tests, rehearsing dialogue for her next audition. There are plenty of scenes where this gorgeous actress wildly overplays things, but it's all intentional. Quite frankly, had Watts not appeared in the film, I don't think there would be much to recommend.

Chevy Chase shows up in a brief (and when I say brief, I do mean brief) supporting role as Ellie's philandering agent. His turn is fine I suppose, but there really isn't much to it. It's as if he just showed up because he was excited at the notion of being asked to be in a project again.

As I stated, this is satire but even so, it's incredibly dull. I love movies like The Player and The Big Picture, but Ellie Parker can't hold a candle to those films because it isn't scathing enough. Coffey's targets are much too easy. There are moments I certainly liked including a very funny sequence in which Ellie and her performing buddy argue over the fundamentals of method acting (Lawrence Olivier would have gotten a kick out of this), which culminates in a crying contest. But for every solid moment, there's about five or six that don't work at all. Take, for instance, a pivotal scene in which Ellie tries out for a period piece. The entire time she's doing her monologue, the strange, foreign film team conducting the interview are more interested in acting weird than paying attention to Parker's work. I get what Coffey is going for here, but it comes off a lot more tedious than funny.

I wasn't at all bothered by this film's low-budget look. Hell, I'm a huge fan of The Blair Witch Project (let the trashing begin). The hand held video camera style is just fine. The problem is that there just isn't anything particularly interesting going on. At nearly two hours long, Ellie Parker is far too lengthy and the pace nearly put me to sleep. There just isn't enough to Ellie Parker to sustain such a long running time. Perhaps this picture was better suited as a short.

Following the picture, Scott Coffey and his cast did a Q & A. No one dared asked Watts any questions about he upcoming King Kong remake probably for fear that some smug independent guru in the audience might chastise them. Watts looked every bit as good in person, and as I've already made clear in the review, had it not been for her, the movie would have been dead in the water. Chevy Chase was also there to trumpet his masterful four minutes of screen time. Speaking of smug. No one asked Chase a question, so at one point during the Q & A, he made it known that he was in the movie too. Finally, someone worked up the courage to ask Chase a question. Chase's reply was longer than his appearance in the film. I suppose the SNL vet was trying to be funny, but I thought he came across as smarmy. Scott Coffey is likable enough. The guy certainly doesn't appear to have much of an ego, and he showered much deserved praise on Watts. Still, I think I prefer watching him as an actor (he appeared in several 80's movies including Some Kind of Wonderful). And in fact, his supporting role in Ellie Parker is stronger than his role as director. This is definitely the most disappointing movie I've seen at the festival so far.

Grade: C-

REEL PARADISE

Reel Paradise was a documentary I was very much looking forward to. Not only is it a film that demonstrates the power of the movies, but it was also directed by one of my favorite documentarians, Steve James (Hoop Dreams). If you haven't seen 2003's Stevie, do yourself a favor and rent it.

Reel Paradise is much different in tone than some of James' past work. This is much lighter subject matter. The film follows independent film staple John Pierson (he's most known for his TV series Split Screen) as he whisks his family away to Fiji where he opens the world's most remote movie theater. While there, he, his wife Janet, and his kids Georgia and Wyatt are introduced to a completely new culture, as they themselves introduce the Fiji natives to exciting new horizons on the silver screen.

In the intro bit in my first report, I talked about my seeing so many movies, and how that excitement and innocence that should accompany the experience is all too rare these days. Watch Reel Paradise and you'll see, firsthand, the excitement I'm referring too. Seeing these Fijians react to the images up on that movie screen put everything into perspective. Even when they're watching something as awful as Bringing Down the House, they laughed and cheered. I don't even think that John himself is much of a fan of that movie, but he was certainly inspired by the Fijians' reaction to it. The wild notion of bringing the movies to an area that doesn't have a multiplex on every corner, and filming the impact he was able to bring into their lives was the impetus for attempting such a patently outlandish venture.

As for the documentary itself, Reel Paradise succeeds wonderfully when the focus remained on the movie theater itself. Sadly, over the course of this two hour film, James frequently allows Reel Paradise to digress into much less compelling subject matter and by doing so he often allowed the magic to slip away.

John Pierson is a fascinating guy. He loves movies, and it's completely evident that he's grown so disenchanted with the politics that come with producing films in the states, that he's opted to leave it behind for a while (think Harrison Ford in Mosquito Coast). In a very real sense, Pierson becomes the real life version of Allie Fox for a year - minus much of the insanity, I should point out. His family is equally interesting, most notably young son Wyatt who delivers the films funniest lines with his "wise beyond his years" demeanor.

Reel Paradise stops dead in it's tracks when it makes abrupt focal point changes. There's a sequence in which the Pierson's cottage is robbed, and John is quick to blame his shady landlord. The confrontation comes across as extremely stagy, but more importantly, this entire portion of the film felt out of place. I just didn't care that much about it. I know this is a documentary and James' felt compelled to follow his family's every move, but in the context of this film, it felt all wrong. The movie also touches on John's conflict with local missionaries who saw the Hollywood intrusion as a threat to their spiritual efforts. Fortunately this sequence was brief.

As was the case with Ellie Parker, Reel Paradise is too long for it's own good and frequently lost sight of it's goal, but thankfully, this movie has John Pierson and his magical theater to fall back on. There's enough pure joy and passion here to recommend it - watching the good folks of Fiji having the time of their lives watching Jackass the Movie was an absolute scream. If only they loved Apocalypse Now, half as much. Young Wyatt reports, in gleeful fashion, that they hated it.

When Reel Paradise focuses on a pure, unbridled love for the movies, it really succeeds, and happily, the bulk of the film is edited with an eye toward this end. I couldn't help but be a little disappointed by the film as a whole, but overall, I was entertained.

B-