Imagine a world where meat is produced from animal cells rather than a slaughter house. Dr. Uma Valeti, the co-founder and CEO of Upside Foods claims such a world is now within reach. A new film documentary, Meat the Future—that’s meat spelled M-E-A-T–follows Dr. Valeti over a five-year period as he attempts to make his dream a reality. From the world’s first cell-based meatball which cost $18,000 per pound to the establishment of a growing industry, Meat the Future presents a different kind of meat-eating future. I was happy to have as my guest on Arts Express, Meat the Future’s director, Liz Marshall.
Click on the triangle above to hear my interview with director Liz Marshall, as broadcast today on the Arts Express radio program on WBAI FM NY and Pacifica affiliates across the nation.
In 2002 a Mauritanian engineer named Mohamedou Slahi was bundled onto a military transport plane and imprisoned by the US at Guantanamo for 14 years enduring years of physical and psychological torture. He wrote a book about it while he was in there that eventually got made into a film called The Mauritanian. But after the film’s release, journalist John Goetz found himself enlisted by Slahi on an obsessive mission that Goetz could never have predicted. Goetz documents his journey with Slahi in a new film called Guantanamo Diary Revisited. I was very happy to speak with Goetz about his new film.
Click on the triangle or mp3 link above to hear the interview with John Goetz as broadcast today on the Arts Express radio program on WBAI FM NYC and Pacifica stations across the nation.
Two of the best films I’ve seen about teachers were foreign documentaries about the teachers of younger children. The first is a French film called To Be and To Have, released about two decades ago, about a rural teacher who taught in a kind of one room school house. But my new favorite teaching film is a recently released German documentary titled Mr. Bachmann and His Class. The Mr. Bachmann of the title is a 6th grade teacher who teaches new immigrants to Germany, and he is decidedly unorthodox.
Click on the grey triangle or mp3 link above to hear my review as broadcast today on the Arts Express radio program on WBAI-FM NYC and Pacifica affiliates across the nation.
Here he is in one of his most masterful performances as Walter Lee Younger in Lorraine Hansberry’s A Raisin in the Sun.
The play was originally directed on Broadway by Lloyd Richards, the first Black director on the Broadway stage. In their lean days as struggling actors, Richards and Poitier would pool their money to buy and split a hot dog. They promised each other that if one got an opportunity, they’d bring the other along. When Poitier got Hansberry’s script, he insisted that Lloyd direct the play. Lloyd worked intensely with Hansberry to shape the play and then cast and directed the play perfectly. The stage cast, many of whom were also in the film– and who you can see in this clip from the film–included Ruby Dee, Diana Sands, Claudia McNeil, and John Fiedler.
There’s a long history of actors and variety performers who have had their first taste of theater with a basement childhood puppet stage. But actor Robert Brock of Lancaster PA was determined to make good on his childhood dream of building a marionette theater for the public and living in an apartment upstairs. Now in a new documentary, director Alexander Monelli brings to life the joys and woes of Robert’s single-minded adult pursuit of his childhood dream in Monelli’s new film Marionette Land.
Click on the triangle or mp3 link above to hear the interview with Alexander Monelli, as broadcast yesterday on WBAI FM NYC and Pacifica stations across the nation.
Some fifteen years ago the art world was aghast over what was called the biggest discovery of the 21st century: a newly found painting by Leonardo Da Vinci. Originally bought for about $1000, it eventually sold at auction for an astounding record breaking 450 million Euros. But was all what it seemed? Was the painting really by Da Vinci? And who was the mysterious buyer? And who were the shadowy middle men and agents taking their cuts? Was the whole art world just one large international scam operation? In a fascinating new documentary film, Savior For Sale: Da Vinci’s Lost Masterpiece? the full tangled story is explored. I was happy to interview the director and writer of Savior For Sale, filmmaker Antoine Vitkine.
Click the triangle or mp3 link above to hear my interview with Antoine, as broadcast today on Arts Express on WBAI FM NYC, and Pacifica stations across the country.
California is once again on fire and it’s unlikely to end anytime soon. But the firefighters fighting those fires include a large number of incarcerated youth who have been trained to combat the fire on the ground. I was happy to speak with filmmakers Drew Dickler and Jake Hochendoner, director/producers of a wonderful documentary film, Fireboys, about those youth who are risking their lives to fight the fires.
Click the triangle or mp3 link above to hear my interview with Jake and Drew, as broadcast today on Arts Express on WBAI FM NYC, and Pacifica stations across the country.
Agent Orange has been called the most destructive instance of chemical warfare in modern history. Sad to say the US government has been instrumental in the awful deaths caused by Agent Orange both in Vietnam and the United States. A powerful new documentary, The People Vs. Agent Orange, depicts the horrific story but also the courageous action by two extraordinary women, Tran To Nga and Carol Van Strum, who fought and sacrificed so much to bring the guilty parties responsible to account.
I was happy to speak with the directors and producers of the film, Alan Adelson and Kate Taverna, and also with one of those extraordinary women, Carol Van Strum, on Arts Express.
The film, The People vs Agent Orange is broadcast on PBS starting 6/28/21 and can be streamed via the PBS streaming app until July 11.
Click the triangle or mp3 link above to hear our interview, as broadcast this week on Arts Express Pacifica stations across the nation, and later in the week on WBAI FM NY.
The Conductor is an excellent documentary film about Marin Alsop, who struggles against enormous odds to become the first female conductor of a major symphony orchestra in the US. It’s a wonderful story told by Director Bernadette Wegenstein, with a compelling theme about the world of high stakes musicianship, along with the high cost of success for a woman in that field.
Click the triangle or mp3 link above to hear my review, as broadcast today on Arts Express on WBAI FM NY and Pacifica stations across the nation.
In the new documentary film, The Social Dilemma, a group of founding tech wizards warn of the dystopia awaiting us because of our fundamental misunderstanding of the true nature of the social media giants like Facebbok, Twitter, and Google. I was happy to be speaking with the director of The Social Dilemma, Jeff Orlowski, about how social media manipulates all of us.
To listen to my conversation with Orlowski, as broadcast today on the Arts Express radio show on WBAI FM NYC and Pacifica affiliates across the nation, click on the triangle or mp3 link above.
Three minutes of heaven as Eleanor Powell, in heels, gives Fred Astaire a run for his money.
The clip above is from the film Broadway Melody of 1940. Powell was probably Astaire’s most accomplished tap partner. Astaire reportedly claimed he would never work with Powell again because Astaire (himself a notorious perfectionist) never wanted to work as hard again.
Charlie Chaplin’s birthday occurs on April 16th, but really we can celebrate him anytime we like. Simply the greatest comedian on the big screen ever. Here’s a piece I produced that was broadcast today on WBAI’s Arts Express, WBAI.org, and on Pacifica affiliates across the nation.
Click on the triangle or mp3 link above to listen.
In his new documentary film and accompanying book, Bedlam, Dr. Kenneth Paul Rosenberg, presents a moving portrait of what it means to be a person living with mental illness in America today. And in his quest to find the truth about others, he had to confront difficult aspects of his own history, and America’s history, of dealing with people diagnosed with serious mental illness.
You can hear part one of my interview with the fascinating Dr. Rosenberg, as broadcast yesterday on the Arts Express radio program on WBAI NYC and Pacifica Radio affiliates across the country, by clicking on the triangle above.
The cliché is that time is money, and it must be true because there are plenty of folks out there looking to steal our time. My guest, Cosima Dannoritzer is the writer and director of an award-winning documentary film called Time Thieves, which takes an international look at the way time has become commodified and manipulated in modern capitalist society.
Click on the triangle above to hear the interview as broadcast today on the Arts Express radio program on WBAI 99.5 FM NYC.
Gene Kelly, Michael Kidd, and Dan Duryea as three GIs about to be discharged, set out on a binge and do an incredible dance number with trash can lids. From the film, It’s Always Fair Weather, the last Gene Kelly–Stanley Donen collaboration.
As readers of this blog know, I’m a longtime fan of cartoons from The New Yorker magazine—and the man who wrote and illustrated almost 2000 of those cartoons was a prolific artist named James Stevenson.
But Stevenson, as Sally Williams’s new film documentary, Stevenson—Lost and Found, uncovers, led an unexpectedly complicated, rich, varied, and sometimes dark artistic life. I was happy to talk with Ms. Williams, the director and producer of the film, about her film and her enigmatic subject.
Click on the triangle above to hear the radio interview, as broadcast today on Arts Express on WBAI 99. FM NYC, and Pacifica affiliates across the country.
You may know of the great British director Michael Apted for his thrillers including the James Bond film The World is Not Enough, or you may know him for his outstanding work with Sissy Spacek in the Academy Award-nominated Coal Miner’s Daughter, or his work with Jodie Foster in Nell. But for many, Michael Apted’s greatest achievement was begun 56 years ago when he selected 14 British schoolchildren from different social and economic classes for the documentary called 7 Up. He subsequently chronicled their physical, emotional, social, and mental lives in ongoing 7-year installments. In a remarkable coup, Apted is now releasing 63 Up, and the 7-year-olds we met in 1964 are now all 63 years old.
I was lucky to interview Mr. Apted for the radio program Arts Express. Click on the triangle to hear the interview as broadcast today on WBAI 99.5 FM, NYC
In 2004, filmmaker Morgan Spurlock ate an exclusive diet of McDonald’s food, morning, noon and night, for a month. He made a very successful movie about the effect it had on his body called Super Size Me. Now, 15 years later, Morgan Spurlock is trying his hand at chicken with a new movie called Super Size Me 2 –Holy Chicken.
I interviewed Morgan recently, and he discussed the chicken and public relations industries, and the effect of Big Agra on family farmers. Morgan also brought along two farmers to the interview, Jonathan and Zack Buttram, who spoke of their devastating personal experiences, and how they were caught up in a cycle of debt and and exploitation.
Click on the triangle above to hear the interview as broadcast today on the Arts Express radio show on WBAI 99.5 FM NYC.
Woman At War (Kona fer í stríð) is the most thrilling film I’ve seen in a long time. It’s the story of an Icelandic woman who decides to take direct action against the new money vultures who are invading her country. The slick capitalists are bringing in their heavy industry to destroy the Icelandic environment and change the Icelandic collective way of life, so this humble woman, Halla, a choirmaster, decides to take responsibility. She drags her bow and arrow across the moss-covered Icelandic interior moonscape and shoots a line of metallic wires across the newly built, landscape-spoiling, power lines. Snap, Crackle, Pop. The lines short and knock out the power to the new aluminum plants. The Mountain Woman has struck again.
The authorities, of course, do not take kindly to such shenanigans. They are on the lookout for this “criminal” and they use all the powers of a newly minted surveillance state. For these new capitalists, who seek to extract as much as they can from the previously clannish Icelandic village way of life, can only impose their will by enforcing it with an extensive surveillance and propaganda effort. Within hours of the power knock-out, the government apparatchiks have laid down the outlines of their counter-offensive. The Mountain Woman is immediately labelled a terrorist. The film neatly shows us how the discourse rapidly spreads from the politicians’ mouths across television, radio and locker rooms. The media buzz insists that it’s the resister and her friends, not the slick politicians who are the threat to democracy. She is falsely labelled as armed and dangerous with remarkable speed. The newly installed surveillance cameras and drones across the country make her a woman on the run, but still no less determined to accomplish her mission with the help of well-wishers and fellow travelers she meets along the way.
You can’t help but identify with the righteousness and intelligence of the woman, Halla, who gets pursued across the country. The film is constructed so that it is thrilling up to the very last moments. And in the end, in a daring and hilarious twist, our hero ends up having eluded the authorities, even as the rest of her—and our—future remains uncertain.
The acting of the lead character Halla, by Halldóra Geirharðsdóttir is a marvel. The one thing that can not be faked on a large screen is intelligence and depth of conviction. Perhaps I have been watching the wrong movies, but I almost never see this on the American screen. Ben Kingsley achieved it in his portrayal of Gandhi, but it is very rare to find an American actor whose internal political conviction and understanding is developed enough. Perhaps this is because of the difficulty of becoming a successful artist in this country; what is rewarded and what becomes the surrounding artistic environment is one of triviality, where political affiliation is a fad of the day, more like team sports, and the propensity to actually risk one’s moral convictions with action is nearly non-existent. But Ms. Geirharðsdóttir is not only fully convincing onscreen, you know she would be fully convincing off screen as well.
As if to counterpoint the seriousness of Ms. Geirharðsdóttir’s performance, the writer and director Benedikt Erlingsson contrasts the weighty theme with many elements of humor, not the least of which is the introduction of a character who is Halla’s twin sister—also played by Ms. Geirharðsdóttir. The portrayal of the sister is a funny, canny performance of a woman who looks inwardly towards meditation and yoga, in contrast to her twin who looks outwardly towards political action. I blinked a few times watching the two sisters together, because although they seem physically similar, their attitudes are so different that it was only with rolling of the credits that I was able to confirm that they were both played by Ms. Geirharðsdóttir.
Director Erlingsson also introduces some Brechtian-like characters who break the fourth wall, including a trio of musicians who show up at key times in the story, like a Greek Chorus. They inhabit the same space as the other characters but are unseen by them. There is also a scruffy bike-riding fellow wearing a Che Guevara T-shirt who keeps getting arrested for Halla’s crimes, but who is always let go for insufficient evidence. If you’d like to think that these characters are a commentary on the fact that when one person takes a strong moral stand and acts, there are always unseen supporters and allies, then we’re in agreement.
I was initially exhilarated by the movie, and I haven’t been able to get it out of my mind. My wife and I had spent a brief time in Iceland last year and we both enjoyed seeing locations and streets that we recognized. It brought back memories of the basically egalitarian society we found there that was on the brink of challenge from the super-capitalists.
And yet a few days later, the movie had me down. Because as thrilling as the film was, as wonderful as it was that the forces of good won out in the end, it became clear to me that the story was a fairy tale. The director puts in Brechtian elements, but forgets why Brecht did so: Brecht wanted always to point out that what was onstage at any given time was just a story, not reality. Don’t get too caught up with the characters and forget about what is really going on in the real world, says Brecht. In Brecht’s TheThreepenny Opera, this is illustrated in the most direct way possible: through a set of coincidences the hero is saved from hanging by the authorities at the very last moment with a pardon from the Queen. A happy ending. But the cast slyly declares that this is just a story, and in real life, it doesn’t happen that way. In real life, people get hanged. Don’t get too caught up in the story, says Brecht. It’s a story. A fairy tale.
But Woman At War gives no such reminders. The hero in the story gets saved over and over from perilous circumstances by sheer dumb luck. She is followed by drones, tracked by police helicopters, surveyed by cameras, followed in cars, demonized by the worst, slickest media propaganda, stripped of allies by a populace anesthetized by the inanity of the discourse of capitalism, yet still always escapes. This is perhaps a story that is perfect for Iceland, because it is a society that is still on the precipice of the old and the new; it is a society that has worked very hard to move towards an egalitarian society, rooted in a collective memory of a people who had to rely on each other for survival. The relatively new neo-liberal vulture capital class is seeking to overturn all that. You can see the tension between these forces even in a casual visit to the country. The story, fortunately, has not been resolved in favor of the capitalists yet.
In a stroke of irony, though, I just read that Jodi Foster has bought the rights to this film and is going to star in a re-make. She will set it in Midwest America. I have great respect for Jodi Foster, but it’s a mistake. This can only be an Icelandic movie. The forces of capital have not reached the same tipping point there as they already have here. Here in America, we are surveilled, numbered, data mined, credit checked. We are militarized, racialized, families pulverized, children incarcerated. It’s too late in America for Erin Brockovich or Karen Silkwood. Their time has passed as possibilities. Julian Assange is thrown in prison. Chelsea Manning, once pardoned, now in prison, too. And both major political parties couldn’t care less. We are way beyond the point in this country where such a fairy tale would even have meaning: even a fairy tale has to have some plausibility. We in America have lost.
Our American cinematic fairy tales now are only of force, comic book tales of being able to beat up, destroy others. The Marvel and DC Worlds. We cannot even think in any other dimension. Perhaps Iceland…
Despite my reservations, this is a great film. It will have you thinking about courage and the State and just what it is that we can do as human beings to resist the madness around us.
Legend has it that “Buster” Keaton was given his monicker by Harry Houdini after he saw the young vaudevillian Joe Keaton being knocked around and taking pratfalls in his family stage act. Keaton always had a fondness for magic, and in 1936 he did a short two-reeler called Mixed Magic. The little known film, which can be difficult to track down, had Buster playing a magician’s assistant. The movie was a talkie and made after Buster’s great silent films of the twenties.
Frankly, the movie is not very good. While watching, I was lamenting the lost comic opportunities that Buster would have taken in the early days. There he is, Buster backstage holding onto a stage curtain rope, trying to save his sweetheart up in the flies; think of the great daring, acrobatic, athletic possibilities that Buster would have taken advantage of in the golden era. But they never happen. Instead there are just anemic cutaway shots that make me shake my head. Well, to be fair, there are actually a couple of good laughs, and those interested in magic and magicians will be especially interested in the posters and apparatus depicted. So with those limitations in mind, take a look at Buster Keaton in Mixed Magic.