stevenm1955 Reviews

I Am (III) (2010)

I Am because I care to be. I Am the change that I desire. I Am where it all starts. I Am responsible.

[9/10 · 21 March 2011]

A successful and wealthy Hollywood director/producer, Tom Shadyac, following a nasty bicycle accident and ensuing significant PTSD, recovered to put together this wonderful documentary concerning the philosophical components of what creates a satisfied and happy life/community. What was found that when it comes right down to it, all we really need is love. "I Am" is a documentary & solution of our global problem, attempting to instill consciousness and awakening into its viewers, one person at a time. It is 76 minutes of happy talk, Koyaanisqatsi-style (Francis Ford Coppola/Godfrey Reggio's 1982 documentary) with slow-motion stock footage, reflective historical archival excerpts and a mixture of relevant film clips ("Wall Street," "It's a Wonderful Life"), quotes from Ralph Waldo Emerson, Martin Luther King, Mother Teresa and Gandhi, splices of spiritual songs w/ incredible poignant lyrics- all teamed to emotional tie-ins that elevate the human spirit with empathy, empowerment & a brilliant understanding of connection and a desire to want to "make a difference". Its style and method has much connection to Michael Moore documentaries, but doesn't leave the viewer in such an angry and impotent mood post showing. Likewise, the film uses the producer's own life story to show that "more" doesn't equate to "happy". It illustrates how a common thread of disorder/dissatisfaction is inter-weaved into our whole western culture's neurosis, intuitively then, & at the individual's psyche this subsequent emotional instability (dis-ease) is obviously the response to a total disconnection from the interconnectedness of all life, & its interdependency of nature, community, and rightful, unselfish purpose. Our responsive and internal behaviors seem to shout "defense mechanism" as protection to the affront priorities of our culture's "smoke and mirrors". The film's title is not a proud declaration but an acceptance of responsibility. Shadyac holds himself up as a prime example of the conspicuous consumption that many native cultures consider a sign of mental illness.

Putting together a lot of the best contemporary minds of science, politics, spirituality, philosophy, statesmen and poetry, as well as prominent authors of esoteric concepts blending "the physics of consciousness" and "the biology of love", Shadyac set out to answer two questions: What's wrong with our world? What can we do about it? The unequivocal agreement he ascertains is that we're (as a species) hard-wired for cooperation rather than competition, we should listen and behave more from our hearts (and less from our heads), that science and abstract mathematics do change over time, have manipulative appeal with long time consequences are often NOT the answer and with this- the fundamental nature of man is essentially benevolent and not cruel.

Though the answers to these two questions appear voluminous, complicated and opaque, the flow of this movie shows a glowing and simple answer. Yes, people are good, and this movie is a positive and expansive experience. The movie is open to the miraculous nature of existence and the potential for change rather than extinction and other untoward direction of decay and devastation.

Mamma Mia! (2008)

Joyous Therapy for the World

[10/10 · 28 August 2008]

I have seen Mamma Mia x7, (x1 w/ my Son, x1 w/ GirlFriend, x2 on a lonely sad ish night + x1 w/ a friend across the country that I hadn't seen in 33 yrs + x2 w/ the "sing-along" presentation). I have purchased & am listening NOW to its CD (& under its influence) which I MUST also suggest for purchase- (whereas it is not filled w/ nonsense instrumental)- but the vocal power, accurate direction & beautiful wonder of the film. It is such a high power, feel-good film. There is nothing here anyone could talk negative about. It is bright, happy, sunny & takes place on a remote Greek Island. ABBA songs envelop the beauty of the musical. The songs are driving, w/ excellent lyrics, great (and fairly complex) composition & background musicality. Regarding the vocals in the songs- the actors/actresses whom the general public do not usually associate w/ being singers are superb (hearing Amanda w/ Rachael & Ashley as back-ups will "blow your socks off"), Colin can sing beautifully also . Go see it. Forget prior ingrained assumptions of 007 or what exactly people are supposed to be (on film). Meryl Streep played a wonderful hard working guest house owner- singing, & acting (she was simply a beautiful & genuine "down to earth person"). Everyone did a wonderful job in the film & I'm sure it was a wonderful film to produce. I love everyone associated w/ the film & silently (& unobtrusively) Praise Tom Hanks as the Executive Producer. I wish I had more of a part than just being a passive viewer. Your heart may be changed forever if you see this movie & take it to your heart. I can't wait to get this on DVD & review the Director's soundtrack.

La Vie En Rose (2007)

Out of such tragedy DOES come beauty & love

[9/10 · 5 August 2007]

La Môme" (2007), was shown in the U.S. with the title "La Vie en Rose." The film was co-written and directed by Olivier Dahan. It portrays the life of the great French singer, Edith Piaf. Marion Cotillard stars as beloved Parisian Edith Piaf, whose passion for her music saw her through a life filled with tragedy. From her forlorn childhood in a brothel to her big break at Louis Leplee's (Gerard Depardieu) nightclub and her premature death at the age of 47, director Oliver Dahan creates a loving portrait of the legendary chanteuse. Sylvie Testud and Pascal Greggory co-star in this critically acclaimed biopic. In French soundtrack with English subtitles, this movie going experience was so emotion filled from all perspectives- but the cinema photographic experience , the abyss of her pain, love of others (often unrequited), her emotional outlet coupled by her religious conviction & the beauty of her music was absolutely phenomenal. Cotilliard portrays a shy, gamine singer to a severely debilitated woman who can barely walk, shaving her hairline and her eyebrows. Her lip-synching is very realistic. She dominated the movie. The story line zigzags with way too many flashbacks. Fortunately dates in supra titles help.

Piaf's life was so full of hardship, tragedy, and triumph that even this long film could not really accommodate all of it. In view of Piaf's dismal childhood, and her continual forced partings from people whom she loves and who love her, it's amazing that she survived at all, and more amazing that she could rise to become a national icon. The movie is not as dramatic as Piaf's life. Born in December 19, 1915, She grew up in Paris Brothel ghettos, following the footsteps of her mother. She experienced a severe keratitis-leaving her blind for a period of her childhood. She married at 17 and had a daughter, who succumbed to meningitis two years later. She was discovered as a street singer after discovering her talent at a younger age- forced to street sing by a cold & abusive father. Soon Louis Leple'e discovered her strong voice as she sang on the street in the Pigalle district and booked her in an elegant cabaret on the Champs Elysee Boulevard, La Gerny. He gave her the nickname of La Mome. Then Leple'e was murdered.

A new agent, Raymond Asso, and other husbands and lovers followed. She attracted talented singers, actors and songwriters. She was a devoted friend who put her own career on hold to mentor young singers like Yves Montand, her lover, and Charles Azvanour. Marlene Dietrich was a close friend. Piaf called world boxing champion Marcel Cerdant the love of her life, although they could not marry because he had a wife and three children. He perished in a plane crash in October, 1949. She investigated spiritualism and mediums to communicate with him.

Despite her addiction to morphine for pain and alcohol, liver disease, and severe arthritis compounded by two car crashes, Piaf returned to the stage in 1955 at the Olympia in Paris and Carnegie Hall in New York, where she was the first variety singer to appear at the classic-music venue.

It is not the script that is melodramatic, but Piaf's life. Nonetheless she remained positive with her lifelong love and generosity for people, her religious faith, and her devotion to music. She passed at 47, leaving a very worn body.

Marion Cottillard as the "The Little Sparrow" (La Mome) is the main reason to see this film about the short and tempestuous life of Edith Piaf.

The soundtrack is, of course, wonderful. Piaf had real talent. That's clear to everyone who has heard her recordings (and clear to all the characters in the film as well). Most of the soundtrack doesn't utilize Piaf's voice--for reasons I don't understand--but the artist whose voice is used sounds amazingly like Piaf. You could enjoy this movie just for the music, even if you couldn't see it.

And for me the highlight was toward the end when Piaf sings NON JE NE REGRETTE RIEN (NO REGRETS). The song written for Piaf is a summation of the film and her life. And for the first time in a VERY long time, I actually had tears on my face in a cinema.

This film is a legend in its own time. There are certain performances that we remember in our hearts forever. I think that by now it is common knowledge that this actress is sensational and this film must be seen for her performance alone. Just remarkable. The film itself, however, reminds us what 'movies' used to be all about. You leave with that wonderful feeling as the credits role as if you have just witnessed something so monumental and unforgettable which you don't want to end. The lump in your throat just sits there blocking your speech, wanting to cry but maybe too embarrassed to show and express that much emotion. I used to feel that so often in the 70's, which was a wonderful time at the movies. A time when people were not afraid to feel and films were made to tell a story, move people and did not follow the almighty 'formula' of movie-making simply for the all-mighty dollar. No contrived plot twists, no surprise endings and no digital special effects. This movie is made with love and has plenty of heart and soul. Do yourself a favor and see it!!! Some of the editing may cause some confusion and disturbance due to the jumping time-lines, however, that is a small complaint. Just stay with it. Most of the editing is that way on purpose to reference different parts of this woman's unbelievable life. Piaf is an important artist who deservingly received this important film as a final homage to her art and life. She did it with love and so does the movie, 'La vie en rose.

Sicko (2007)

"If you can find money to kill people, you can find money to help people". Tony Benn

[10/10 · 8 July 2007]

A Nation in Crisis..........

The United States ranks # 37 on providing adequate health care according to The World Health Organization's (WHO)(http://www.photius.com/rankings/healthranks.html) ranking of the world's health systems. We rank even below several (almost) "3rd World" countries Costa Rica, Dominica, Columbia & Andorra. The US are most sadly the lowest rated of all the G8 (Group of Eight) Nations.

Specifically the focus is on the disparity of the US HMO system & how other nation's peoples cannot even fathom the mechanism of greed, profit, & the corporate "bullying" that goes on here. The interviewees (foreign residents) in this movie come short of calling our system "Criminal". They chuckle & naively giggle when financial issues of HC are discussed, as they understand health care & especially preventative HC should be a government provided necessity. Couple this by the associated financial abuse (insurance premiums, drug costs, etc) of our people, we see what a shocking & disheartening quality our HMOs have become. Shameful.

The "circus" of HMO HC in this country has become shameful. Laws & propaganda are dumbing us down. It appears that as a nation we have been raped by the authorities that we elect. That is correct……… We have been raped by the whores that are being FED by the Lobbyists. Sorry Folks- there is no loyalty Here. None. Whether it be by denial of services, delay of services, delay of payment, ridiculously overpriced pharmaceuticals or hellacious co-pays- it is quite obvious that the system is very, very wrong here.

HMO is actually an oxymoron for what happens here in the US. Preventative health is a very very important issue worldwide. There is so much more that goes into the HEALTH part. The movie integrates concepts of how personal indebtedness, personal powerlessness, excessive education expenses, the "search" of the American Dream, frustration of/with the system & just how WRONG our system really is. Most businesses understand that: "A few bucks now saves a whole hellofalot later". HMOs & drug companies are unregulated "big monster" greedy, nasty, self insured moneymaking machines.

The movie made me cry multiple times, & anger still resides. Moore did a wonderful presentation @ the human-side of the world- at the person level. Whether a resident of Cuba, France, Britain or Canada- we are just people who feel, & breath, & live & Love. People. We all are (or could be) just beautiful people.

We MUST consider the sources of our propaganda. We must understand why & how laws that affect us are created. We must understand what the "ulterior motive" of government officials are. We must understand that in most countries the government is afraid of the people. We must be aware of issues that are being delivered. In any society when the foxes have the keys to the hen-house- this is a red flag. It is very, very apparent that these issues are wrong & are not going to go away soon.

Stormy Weather (1943)

A Historical Treasure! A Larger than Life collection of Black Entertainment!!!

[10/10 · 19 March 2007]

Stormy Weather is a larger than life collection of an all-singing, all-dancing biographical showcase of the very best of black entertainment in 1943- promoting music & dance & how the related importance & contribution is significant to the American Culture at large. It is classified as a historical treasure, & undeniable agreed to be within the top 5 of all-time best Black Films. Filmed & produced during World War II when segregation was pretty much legal in most cases- the movie represents a "time capsule", emblematic as a historical archetype with its problematic stereotypical racism indicative of the society of the time with its dehumanizing representation of Black People as an accepted tradition. The comical representation (of people) , conniving personalities, minstrel entertainment "Miller & Lyles (i.e.-"Amos 'n' Andy type mentality), hyper obese (jolly) individuals, "forced Africanism", & vaudeville entertainment, were strictly addressed (& denoted) only to Black Folks.

Stormy Weather is an All Star Cast showcasing quality black performers. The narrative of the film is to set up the performances of the stars. The scene set-up is only secondary to the performance showcases themselves, so instead of only snippets of great Black music & dance- the movie offers a plethora of excellent Black art. It may be understood that Stormy Weather perhaps may be viewed as a "music video within a video", thus the narrative is the vehicle to aid in the music videos only, & thus the plot is essentially unimportant. Accordingly then, the story is a bit illogical whereas the film set-up is from the perspective of Bill "Bojangles" Robinson looking back & sharing his life, career & accolades on his porch with the neighbor children, or perhaps (it might be) a love story between the characters on screen played by actors Bojangles & Lena Horne.

There were more than 20 musical numbers in the film, undoubtedly a "gem of a musical" offering such a wonderful range of performers of different genre. Notably- the divine Lena Horne, Mr. Bill "Bojangles" Robinson (Fred Astaire called Mr. Robinson the greatest dancer of all time {additionally in four minutes eight seconds Robinson tapped 1,984 taps- that's eight per second a noted record breaker}), Cab Calloway & his Band is a major contributor to the quality of this movie (Mr. Calloway {IMHO} has more charisma than Marlon Brando, Paul Newman, & Armando Desante TOGETHER {some of Cab's most brilliant archival footage is right in this film!!!!!}), The Nicholas Brothers did an incomparable stereo & synchronized tap dance # to Cab's "The Jumpin; Jive" including "leap-frog" full splits (almost raggedy-Ann like) & returns (across dining tables, throughout the bands tables, down a staircase) in a brilliant artistic fashion (smiling nonstop), right into a chorus finale of 55 men & women dancers/singers doing "My My, Ain't that Somethin'" (Reprise). Other notables are Thomas "fats" Waller "Ain't Misbehavin'," (he's got real cool {and exaggerated} facial expressions on film), Ada Brown singing "That Ain't Right" to Fats Waller Bluesy Piano Band. Katherine Dunham's dance troupe of 10 doing "Stormy Weather Ballet" (Katherine Dunham led a world-famous dance troupe) was graceful & spectacular. Of Course Lena Horne doing "Stormy Weather", is a hit, but she did 3 other numbers that included some smooth & beautiful dance steps.

Stormy Weather is just what it was intended to be- diverting entertainment in a wartime world. Perhaps the stereotypes are bothersome, the story a bit illogical, but the talent and passion of the performers and the caliber of the music make it all worthwhile- then & now. So much of quality is lost in today's world. It was a pleasure to view this movie 10 times this week. :-)

Hostel (2005)

Quentin Tarantino/Eli Roth @ his most creepy

[7/10 · 8 February 2007]

Hostel- Quentin Tarantino/Eli Roth @ his most creepy. Alfred Hitchcock stand aside for this one.

I have yet to see a more evil & creepy movie, nor am I a fan of such, however it is frighteningly realistic & quite possible-that a shadowy "business" baits young adventurous male college partiers into unspeakable peril as they're setup by hot enticing European women (the "front"), drugged, & wind up in a most hellish & unspeakable situation; tumbling into a predictable chain of events that feed on the most evil, cruel & inhumane desires of a "bizarre club", whereas grossly sick individuals pay great sums of money to have access & ability to cause horror, pain, terror, torture & live surgical dissection to fellow human beings. The plot opens slowly in Amsterdam with the presence & allure of drugs, parties & promises of hot sexual encounters. Although dragging on, it leaves the audience in a comfortable & predictable place- & thus lets the viewers guard down. A train ride across Europe ends in a Czechoslovakian town as the first sense of fear bridles the unexpected. The unspeakable of actions wields full reign with the most heinous of mans cruelty to man in a truly believable controlled situation- protected by the auspices of business, power, money, & a private paramilitary protected "factory". The unsuspected guest (or audience) falls into a malevolent & uncompromised fear & terror- succumbing to an utterly powerless & hopeless abyss. The realism & potential 'actuality' of a hellhole of such- in today's world is truly believable. I found myself "in the screen" being in the party & riding the train- enticed by these animated European actresses preying on the desires of these guys. It is uncanny how drawing these individuals were. MOST GUYS would have taken the gait, which is the scary creepy part. Look- guys are vulnerable in this world also! As the plot developed I found myself, perspiring, as my respiratory rate became shallow & absent as I found myself gasping at times. In Inferring an "Alfred Hitchcock stand aside for this one", I respectfully ONLY compare the level of anticipation, anxiety, tension, fear, terror & (the viewers) acquired (& actual) visceral somatic (ism) to Hitchcock. This is where it ends. Appreciatively Hitchcock would never take a viewer to this level of disgust.

Because of Winn-Dixie (2005)

Isn't life really the sum total of the sweet & the sad?

[8/10 · 5 March 2005]

We live in a world that has a tendency to be so shallow & superficial. We become preoccupied w/ our own issues & fail to see (sometimes) past our own noses. We unavail ourselves to the richness of life's fullness sometimes because of each of our own inabilities, insecurities, & tough skins (or fears). This movie breaks ALL these barriers. The protagonist is Annasophia Robb (Opal), a wonderful precocious 12 year old girl w/ big expressive blue/green eyes & an insightful heart & full spirit. Sad & lonely for her estranged Mother & lack of friends after a recent move, she shares her hurts, prejudices, & behaviors so common of children (& of people in general), as the movie seemed almost 'nostalgic America-like'. The dog 'Winn Dixie' has an insightful ability to reach people & ingratiate them, as the story 'buds' with Opal & the Dog initiating the solidification (rediscovery??) of individuals sensitivities amongst the local townspeople. Cicely Tyson (Gloria) played a spectacular performance (as a blind eccentric recluse) after being 'labeled' by the town's kids as a witch. The fullness & softness of insight & strength shines strongly shortly after meeting her. Dave Matthews (Otis) (The Dave Matthews Band) possesses a quietness & sensitivity (almost a coyness of sorts) & his store-full of barnyard/domestic (petshop) animals delight in his acoustic guitar playing (I do too, Dave!!!!) The magic…This Candy (of the defunct) Littmus Lozenge Company sets up the pivotal focus of the movie as the taste is 'Sweet & Sad'- dependent on the taster of the candy. Truly magical! Little subtleties such as the growth of her drawing of the town from simple to full color & alive (We got it!!! The invitations to the party!!!), the choosing of the word Littmus (remember litmus paper in school???), The listing of the 9 remembered best items (both Mom & the 'Lost' Dog), Gloria's Love of Nature (rebirth of life) & the brilliance of the brightness of the lighted candles in Gloria's (blind Woman) home (@ the party) were well thought & wonderful. This is a Chick Flick (Respectfully as I am grateful to say!!)in its finest, & a powerful movie, giving me that good feeling throughout the entire movie. Tears streamed from my eyes as the delicate personalities were slowly peeled from the coarseness of their overt exteriors. I cried from joy or tingled from sensitivity throughout. This movie was very inexpensive to produce & proves that money does not produce quality. Thank You Hollywood for providing such a wonderful product as this movie aids in my belief (rebelief) of the 'Goodness of Humanity'.