“Rejoice and Shout” spreads the good news – Gospel’s history

“Rejoice and Shout” is a feature-length documentary, from director Don McGlynn, about the history of Gospel music.  It’s described as a rhythmic, ancestral pillar that African-Americans used to sustain themselves and to keep sane during their centuries in slavery.  It told the audience that, at least at church, beyond the anglo gaze, “I am Somebody!”

One of the Blind Boys groups (courtesy Magnolia Pictures)

A staple of the documentary genre is cutting between archival and interview footage.  This film does that.  It tells an interesting, surprising and entertaining story, omitting any dogma that you might expect.  It runs down the time-line of the genre and its innovations, some typical, others “unholy.”

It shows at the Edina Cinema for a week starting on July 8.  This documentary provides a who’s who of the indelible and most potent Gospel artists, also dredging up memories of folks who time might have forgotten.  “Rejoice and Shout” makes clear that as long as the music is understood as honoring God, then it should please Him and in-turn his followers.

It tells about Gospel music’s pivotal personalities, trends and game-changing innovations, it tells about clashing sensibilities of faith and styles of music.  At the heart of some innovations  is a question:  isn’t it unholy marry rap with gospel, or blues with gospel, or any popular music with that pious one?

Mavis Staples (courtesy Michael Ochs Archives/Getty Images)

This story tells us how Thomas A. Dorsey, while ultimately revered, caught hell for having mixed the blues with Gospel, making what some considered heretical.  (Ray Charles had similar clashes when he took those chances.)  It tells us how Rosetta Tharpe, who may be less known than Mavis Staples, inspired the latter to take up the guitar; before Ms. Tharpe did it, Ms. Staples hadn’t known that it was possible.  And without the Dixie Hummingbirds, The Temptations might not’ve been.

Many documentaries are more creative, with editing, location and other choices, and take chances with their storytelling.  “Rejoice and Shout” is a strong, competent film.

POM’s “The Greatest Movie Ever Sold” is an irreverent way to scratch at some truths

“The Greatest Movie Ever Sold” shows us the sausage making involved in product placement in movies.  As Morgan Spurlock peeled back the onion of Mickey D’s in 2004′s “Supersize Me,” this year’s documentary comedy shows us, and him, in the process of wooing companies to pay for his movie, and in-turn being cast in it as the lead and supporting characters or topics.   Along the way they are examples of how those companies or brands have changed movies.

In Mr. Spurlock’s routine, nearly inimitable style, “The Best Movie Ever Sold” starts with him just now considering how well his crazy idea will fly with the American Nasdaq-type brands, whose concern about brand management and protective public relations flirts with paranoia.

(courtesy Sony Classics)

Landmark Theatre’s Uptown Theater plays this for a week starting on April 29th.

A bunch of mid-level brands stakes their claims to Mr. Spurlock’s viewers: POM Wonderful, a healthy pomegranate drink, Sheets (a gas station & eatery), Ban, Mini-Cooper, Hyatt hotels, Jet Blue and Mane & Tail among mid-length list of others.  That last one beats it all; it’s a shampoo for the horse and human markets, both!  Wow.

It must’ve been awkward and embarrassing when Morgan asks the Ban Roll-on  folks what words or phrases describe or typify their product: the marketing execs were struck dumb!  Hmm, no need to wonder why they called their company a small, scrappy company that could.

This is an amusing, witty exposé of brand placement or brand integrated movies.  Mr. Spurlock includes a few ads within the movie, sweetening the pot for his highest paying sponsors.  That’s an irony for those viewers who resent the Generation-Y norm of seeing TV commercials slapped onto a 70-foot screen, before or among the trailers.

All Spurlock family, Morgan and son, praise to Jet Blue? (courtesy Sony Classics)

Mr. Spurlock’s bottom-line is one that often lays on the track between money and art.   The question of artistic independence is big for the filmmaker.  That question: how much to sell-out?  One of the many artistic and financial questions: how much artistic control does he cede to his sponsors; how much of a whore is he willing to become?

A score?  See it.  Enjoy it.  Consider the meat inside the loony package.

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“The Princess of Montpensier” reminds us that wars have been fought over women

“The Princess of Montpensier” is a costume romantic drama, from Bertrand Tavernier, and set in the 1500s.  The fight over the princess’ favors reminds us of what much of classical poetry and literature has observed: “wars have been fought over the favors of a woman.”

This is an era that damns the men, even the kingdom and dooms her.  Marie (Mélanie Thierry) is torn between two men, two cousins’ love (unrelated to her).  One she wants, Henri de Guise (Gaspard Ulliel).  The other, who she doesn’t, Prince de Montpensier, (Grégoire Leprince-Ringuet) but her father does – for politics and property.  He coerces her into marrying the prince, but the prince is too young and too immature to be a good match for his newly arranged wife.

poster (courtesy Flickr/Creative Commons)

This will be showing at Landmark Theatres’ Edina Theater for a week from Aprill 22nd.

This princess’ life and the story become more fraught when we see that all the men who spend a lot of time around the princess are enchanted by her, succombing to her assets.  The prince’s mentor and tutor, the Comte de Chabannes (Lambert Wilson) a gentleman, warrior and scholar – a rarity.  And the prince’s commander, Duc d’Anjou (Raphael Personnaz), also vies for Marie.  While the Comte is deliberate about this, showing his maturity, the Duc is younger, impulsive and urgent (or just lusty) about it.

This is one of those “if only” stories, where you notice that, if not for one road taken, there’d be none of this trouble – but also this intricate story, this romantic and political tumult and suspense wouldn’t interest us.

An exchange tells a lot about the princess’ and the prince’s bond: on their way into his castle…

He asks “When will you love me?”

She says, “When you order me to?”

–If only she didn’t cave in to her dad.

–If only women hadn’t been considered chattel and beasts of burden then.  And head-strong women were such oddities as to be thought mad.

The most interesting subplot belongs to the best-drawn supporting character, the Comte de Chabannes; he’s a warrior turned pacifist.  He laid down his long sword after having killed a very vulnerable woman by accident, but in the heat of a fight.

The romantic and political intrigues are complex to a Shakespearian level.  More than a few shades of truths and lies push Marie, her husband, her tutor and the Comte away from one another – but mostly her.

The beautiful colors used in the costumes and photography overall draw our attention, but the plot, the performances and the plotting over love and lust command that attention.  Those scenic colors are incidental to the great characters and the ways in which their stories clash with one anothers’.

See this film!

The big problem: the more than two hour sitting might make you antsy, even though the story’s great.  Also, if you want sword fights, serious ones from this, you might find the few in this to be pale and shallow.

“The Human Resources Manager” is a strange trip, from Israel, to bury a body

“The Human Resources Manager,” is an Israeli drama, from Eran Riklis, about a Human Resources Manager (Mark Ivanir), without a name, but a title.  He works for a large commercial bakery and has to go above and beyond when a former temp worker is found among the dead at a suicide bombing site.  But when no one claims her at the morgue, a muckraking print reporter rails the bakery for not claiming her.

The bakery chief, concerned about how that story hurts the business, presses the manager to look into a small payroll question that led to the worker having a bakery paycheck on her, but her not being in their other systems.  The HR Manager finds that he’ll have to go with the body and help bury it.  This brief journey for public relations and peace making winds up taking longer than expected and creeps into a set of mid-life-like questions.

Minneapolis’ Lagoon Cinema plays this for a week starting on April 15th.

With each step he takes to fix this PR crisis, he winds up attracting yet one more person, and one more wrinkle, to a simple matter of identifying and burying remains: first he has to satisfy his boss, then after doing that, he finds that she’ll have a bigger problem for him when he returns.

Then he has to find and deal the victim’s widower.  There’s a problem, so he can’t give consent.  Above all, a series of sillier and stranger events make this road to better PR deeper.  They have to see about the woman’s son…  And then there’s a Consul, and a Vice Consul and then their official driver.   But his driver’s license isn’t in order.  Oh, and that muckraking reporter who starte this is also tagging along.  But wait, there’s more…

If this’s a comedy, it’s dry.  Eitan Gorlin’s “The Holy Land,” also Israeli, and from 2001, is funnier, and has more wit.  Similar, equally profound life-deciding questions pop up in this film.  While the characters in “The Human Resources Manager” are only colorful, those in “The Holy Land” are vibrant and more fully drawn.

“The Human Resources Manager” is a good, interesting story that’s well worth a look.

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Biography of Pakistan’s “Bhutto” is a political action movie that grabs you

“Bhutto” is a three-level history of Pakistan, its culture, its people, with Ms. Benazir Bhutto’s accomplishments front-and-center.  She was Pakistan’s first female Prime Minister, but didn’t rise from nothing.  Her dad, Zulfikar Ali Bhutto, himself a former Pakistani Prime Minister, had to come first.

Benazir Bhutto, fmr Pakistani Prime Minister (courtesy First Run Features)

He set his progressive, maybe radical, example in the home and office, and a precedent for his daughter Benazir Bhutto.  This story isn’t just hers, or theirs, but also the state’s.

“Bhutto” is a potent, exceptional feature-length political documentary, from Duane Baughman & Johnny O’Hara, about a family that broke with customs to make history.  Truly, it’s a political action movie!  While it’s not Jason Bourne, the dramatic and consequences are just as tense.  Pakistan is a zealous Muslim state that’s both troubled and troublesome; in part because of fundamentalists, and the military and their diverging goals.  Women were only noticed if that suited the men, as long as there was no trouble, no waves made.  Prime Minister Benazir Bhutto’s story is vital to the state’s broader one.  Before her, women were never expected – or wanted – to serve the people by leading them.

Landmark Theatre’s Lagoon Cinema will begin showing “Bhutto” on Jan 28th.

This political documentary film provides a concise primer on Pakistan’s and the Bhutto family’s dense, complex and compelling interwoven stories, which are both personal and political – powerful.  Now, politics and family are often a dramatic mix; consider America’s Kennedy’s, the Windsor’s (the Royal Family) of Great Britain or the Daley’s of Chicago.  Adding contentious questions of gender or religion, or both to that mix is incendiary. The grooming of a groundbreaking stateswoman is a great story for ambitious girls.

We get all of this in one fascinating, highly intelligent, even urbane film.  Some people might find “Bhutto” too complex, too dense and too deep.  It mixes a few major moving parts.  While it’s a political documentary, the incendiary topics make it a political action movie.   Either one of these stories, about either of the Prime Ministers Bhutto, father or daughter, of about the state, could be full-length history entertainment.  Outside of PBS’ POV series it’s hard to come up with another film, documentary or not that deals with pioneering women politicians.  Particularly in lands where women only known as wives and mothers, serving families, never nation states.

Ms. Bhutto’s story, while dramatic, walks beside her dad’s.  She is her father’s daughter.  The dad, Zulfikar Ali Bhutto’s, story was vital to show his Prime Minister daughter’s origins, how she grow with fewer fears than other women.  He broke with tradition and custom, after Benazir wore a burqa for the first time.  After his wife told him that their daughter had worn that, he considered what the custom meant to him and he told her that Benazir didn’t have to wear it.  That helped to break the mold of a traditional Pakistani woman.

If we were to score this: 4.5 from 5.

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