HARMONY KORINE'S RECENT WORK ('Living Proof' through 'Umshini Wam')

I know Harmony Korine is an acquired taste, but as far as I'm concerned hes a really good director. This may sound like bullshit to some of you guys, but the older i get the more serious i take his stuff (...some of it). Sure, no matter what he does I'm always going to smirk and laugh at certain elements of his work, but he has definitely matured as a director over the years. And his recent work clearly shows that. This "revelation" hit me after watching 'Mister Lonely' for the first time a few years ago. Some of the dialogue in that movie may seem kinda corny, but coming from a director like haromey korine, it was a little unexpected and it seemed kinda genuine:
I don't know if you know what it is like to want to be someone else, to not want to look like you look, to hate your own face and to go completely unnoticed. I have always wanted to be someone else. I have never felt comfortable the way I am. All I want is to be better than myself, to become less ordinary and to find some purpose in this world. It is easier to see things in others, to see things you admire and then try and become that. To own a different face, to dance a different dance, and sing a different song. It is out there waiting for us, inviting us to change. It is time to become who we are not. To change our face and become who we want to be. I think the world is a better place that way.
Maybe its me, but before 'Mister Lonely' I woulda never expected that to come outta one of his movies. If any other director had written that, you'd probably roll your eyes, but from a guy like Korine, you kinda appreciate dialogue like that. Then, a few weeks ago i saw his latest short film; 'Umshini Wam'. It stars the eccentric "rap" group; Die Antwoord as wheelchair-bound gangstas trying to get some new rims for their wheelchairs (i think that's what its about). A lot of that movie is obviously satirical, but its also shot really well and nice to look at.
I think 'Gummo' will probably always be considered Harmony Korine's defining film, followed by the screenplay for 'Kids'. But in the last few years, i really think he's found a new "colorful" style. He still only seems to be concerned with documenting the "strange & weird", and getting in to the dirty crevices that other directors wont go, but his recent stuff has a much nicer feel and look to it. Ever since cat power's 'living proof' music video, he seems to be fascinated with both; bold/striking colors as well as extensive slow motion shots (like some scenes in 'Mister Lonely' and the 'Living Proof' video). The look of his earlier stuff like; 'Gummo' and 'Julien Donkey-Boy' gave off a very depressing and drab feeling. That doesn't mean those movies are bad ('Gummo' is one of my favorite movies as a matter of fact), but there was a lotta emphasis on darker, dreary colors. And lets not forget his first 2 movies were grainy-looking as well (especially 'julien donkey-boy', which was a dogma95 film). But in recent years, no matter how strange, weird, creepy or dark his newer movies may be, i still don't get the same feeling as i did before, because they are nicer to look at.

From ('95-'99):

To ('06-present):

See what i mean? Some of you may not see a difference, but i sure do. Nowadays there seems to be an emphasis on the color; red, yellow and pink (i realize there was the bunny kid in 'Gummo', but there's always an exception). No matter how many funny and silly parts there are in his first two movies, theres also some seriously dark shit in them too (a guy pimping out his retarded sister, incest, schizophrenia, etc). And the darker/somber/grainy look of those movies make those things seem even more depressing and disturbing. Today, Korine still has plenty of serious stuff in his movies (suicide, murder, depression, etc), but at least his new found love for colors and pretty landscapes (highlighted in 'Mister Lonely') make it easier to stomach that stuff.
An exception within Korine's recent work was his latest feature; 'Trash Humpers'. A movie about a gang of mentally deranged friends who wear old people masks that go around teaching kids to put razorblades in apples, kidnapping a baby, getting drunk, banging BBW prostitutes and ...humping trash. I (somewhat) enjoyed this movie, but Korine seemed to go back to his "old" style of directing with this one. The look, the atmosphere, everything. It almost seems like a loose sequel to 'Gummo'. 'Trash Humpers' gave me the most uneasy feeling out of anything Korine has done (mostly due to the ending). Also, as a little side observation, some of the imagery from 'Trash Humpers' reminded me of Diane Arbus's photography, which can be quite dark and creepy too. And i have to add, i don't think anyone has compared 'Trash Humpers' to Diane Arbus's work, so I'm just gonna claim that i did it first. Anyway, check out these images below of both; 'Trash Humpers' and some of Arbus's photos.

But still, outside of 'Trash Humpers', I think Harmony Korine continues to move in a new direction. I'm sure this blog will be proven even further with Korine's next film which is set to star Marlon Wayans (as far as i know that movie is still on). I understand if some of you were turned off by 'Gummo' or 'Julien Donkey-Boy', but if you gave up on Korine after those two movies, maybe its time give him another chance and check out his more recent work.
as a matter of fact, here's two of his new shorts right here:


Umshini Wam from Kawika T on Vimeo.

DO PEOPLE REALLY REALIZE HOW FUNNY 'GHOST WORLD' IS? SERIOUSLY...

This isn't so much a "review" as it is me just rambling about how great terry zwigoff's 'ghost world' is. For those of you who kept up with my myspace page, you should remember that i always spoke highly of 'Seymour', played by Steve Buschemi, but i never really got in to HOW great the whole movie is. There are so many little details in this movie, that i wonder if Terry Zwigoff, a director i consider to be part of the unofficial school of; 'Todd Solondz', was totally conscious of how genius his directing in this movie was. Coming from only 2 documentaries ('louie bluie' and 'crumb') to working with actors for the first time (one of those actors being the great Steve Buschemi) must have been a challenge. As a matter of fact, rumor has it that Zwigoff approached some acting coach before starting work on 'Ghost World' and flat out asked her: "how do i direct actors?" (or something like that). The way he captures hilarious details and funny real life situations always seem to blow me away every time i watch this movie. Seriously, when you get past the main plot of the movie, which is also great, you can clearly tell that Zwigoff's agenda was to just poke fun at middle america/"anywhere usa".

The video store scene:

Masterpiece Video Clerk: Hello, welcome to Masterpiece Video. How may I help you this afternoon, sir?
Masterpiece Video Customer: I'm looking for a copy of 8 1/2.
Masterpiece Video Clerk: Is that a new release, sir?
Masterpiece Video Customer: No, it's the classic Italian film.
Masterpiece Video Clerk: Yes, sir. I'll just check that on the computer for you, sir...Yes, here it is. 9 1/2 Weeks with Mickey Rourke. That would be in the Erotic Drama section.
Masterpiece Video Customer: No, not 9 1/2, 8 1/2. The Fellini film?

During the heyday of Blockbuster & Hollywood Video, i know a lot of you have had a similar conversation with a clueless video store employee. And please note, I'm sure you've had issues with movies that aren't even as "obscure" as a Fellini movie. In fact, in college i almost caused an entire Blockbuster to shut down, just for asking if they had a copy of 'Raging Bull' ("HUH?! WHATS THAT?!). Thank god 'Tommy K's' video had an employee like myself (along with my other awesome co-workers) who actually knew a thing or two about movies. LOL, and lets not forget the guy (or girl) in that same scene just standing around in the store watching the movie on the TV. This is funny on 2 levels. One; as a former video store employee, i can tell you its a fact that people really do just come in to the store with a soda, and make themselves right at home and watch a good portion of a movie that's currently playing on the TV and then just leave. Two: that guy/girl kinda represents that middle america/anywhere usa that Terry Zwigoff is clearly poking fun at (fat, sporting a mullet and drinking a big gulp soda)

Those funny little details that i spoke about earlier:

Am i the only one who finds it absolutely hilarious that the dude in the first picture (taken from the scene when Enid gets a job at the movie theater) has a fucking rat tail style ponytail? Only 9 year old bad kids named: "Dillon" have rat tail haircuts. This guy is a fucking adult. Sorry, but Terry Zwigoff clearly put that in there for a reason, yet i rarely hear anyone mention how funny it is. Also not to mention the fact that he asked for a medium drink. That speech that Enid gives him about medium beverages is pretty true. Who orders a medium drink? Lets be real. And take the guy in the 2nd picture. Why would you go out in public looking like Roy Orbison? Whats funny is, this guy is only on screen for seconds, but long enough for you to notice how much of an ass he looks like. And finally the art teacher (third picture). This makes me laugh personally, because it reminds me of my hometown of Amherst Massachusetts. For those of you unfamiliar with this awesome town that birthed Dinosaur Jr, Amherst is a very liberal/P.C. place. Don't get wrong, i love Amherst to death, but growing up there, you're almost bound to find someone wearing sandals, "earthy" looking jewelery made outta granola bits and Brazilian/African clothes that usually look awkward on the people who wear them. You know how there are sayings like; "Only in New York" or "That's So L.A."? Well, the art teacher in 'Ghost World' is "So Amherst". I crack up a little bit on the inside every time i see her. And lets not forget the wheelchair guy, who gets the trivia question right in the coffee shop. Not only is he such a random person, but the trivia question that he gets right in order to win the free coffee is a little odd too: "where on the human body is the douglas pouch located?"

The Blues Hammer Scene:

As far as Terry Zwigoff's fiction films go, this is probably the best scene he has ever directed. For those of you not familiar with Zwigoff's background, he comes a folk/blues background. In fact, he was once in a band with his friend; Robert Crumb. A lot of the musicians that he grew up listening to and looking up to where old black blues musicians who never really got the recognition they deserved. The scene when Enid and Seymour go see the old blues musician open up for "Blues Hammer" is just as funny as it is sad. I mean, the editing is just brilliant. Zwigoff cuts in and out of this obscure old musician (who seymour clearly idolizes) with scenes of douche bags and other scummy people watching a sports game, being loud and just not paying any attention to him play. Then after he finishes his set, even though no one in the bar besides Seymour could care of his existence, he still takes a bow and humbly walks off stage. That part is fucking heartbreaking. The heartache of that scene soon comes to an end, when "Blues Hammer", a group of frat boy-looking white guys take the stage, and start singing an old blues song about "picking cotton all night long". And as they sing, everyone in the bar starts to dance and have a great time.

Comic Book Store Nerds and "Pathetic Collector Losers":
Another great thing about 'Ghost World' is that Terry Zwigoff is not only above making fun of himself, but pretty much the entire "scene" that he comes from: Record collecting, out of style clothes wearing, comic book readers in their 40's (or older). Or as Seymour puts it; "Pathetic Collector Losers". Because Zwigoff comes from this world, he paints a perfect picture of what these people look like, the conversations they have and all the other little details. The scene when Enid and Rebbecca go to Seymour's "House Party" pretty much highlights this. A bunch of lonely, sad men talking about records. Yet its still OK to laugh at them. Or Take the scene when Enid and Rebbecca go in to the comic store. What the fuck kind of conversation are those two guys having at the beginning of the scene lol?

Zine-O-Phobia Creep: Whoever told you that bullshit about boiling is out of his mind. Carpet beetles are the only way to get flesh off a corpse.
Zine-O-Phobia Creep: I'm just telling you what he said.
Enid: Don't you creeps ever talk about anything nice? Don't you ever talk about fluffy kittens or the Easter Bunny?
Zine-O-Phobia Creep: Look who's talking, Little Miss Badass.
Zine-O-Phobia Creep: Yeah! Nice outfit. Who are you supposed to be, Cyndi Lauper?
Enid: Blow me, doofus.

LOL, seriously who the fuck has that kind of a conversation? Getting flesh off of a corpse? Little awkward moments and random conversations like that make me love 'Ghost World' so much. And speaking of awkward and random, how great is the graduation scene? Its so random that a bootleg, local, all girl pop group would perform at a high school graduation. Did the person who booked them think that a bunch of high school seniors would take them seriously?

Seriously tho, if you haven't seen 'Ghost World', you should make it a priority. Its easily in my top 25 films of the last decade (and Thora Birch looks damn cute in this movie too).

OUTRAGE

Takeshi Kitano's latest, which was the closing film for the Japan Society film series; "Hardest Men In Town: Yakuza Chronicles of Sin, Sex & Violence", was a return to his unique take on the yakuza genre that most people know him for. A strange mixture of over the top violence, existentialism and dead-pan delivery reminiscent of Bresson. 'Outrage' is getting a lot of mixed reviews on places like rotten tomatoes and mubi.com, but take it from me; this movie is GREAT. For those of you who love Kitano's work like 'Sonatine', i can almost guarantee you will love this. While watching this movie, at any given point you will; die laughing, look away in disgust (see picture), or contemplate the life of the lead character. Rarely while watching a movie in a packed audience did i feel so much synchronicity with a group of people i would normally dislike had i not been in the same movie theater with them and enjoying the same thing.
'Outrage' is a movie about double, triple and quadruple crossing within a few closely knit Yakuza Families, and one man's ultimate rise to power by playing everyone against themselves. In fact, I'd say the films only 2 issues were the complexity of all the back stabbing (they seem to happen every 15 minutes or so) and the fact that it can be difficult to follow who is with what Yakuza clan at certain points in the film. Those elements didn't really bother me, but i can totally see how those aspects of the film would annoy people.
Takeshi Kitano also stars in the lead role as "Otomo", an under boss who gets caught up in the convoluted back stabbing and turf wars. At certain points in the film, it almost feels like Kitano is poking fun at the Japanese gangster genre. I think he knows that scenes of loud, overly dramatic acting Japanese men yelling at each other in a small room for 5 minutes at a time is kinda funny and that's why there's plenty of that in the movie. Something that also might get overlooked in the movie is Kitano's performance. Takeshi Kitano may have one of the all time greatest faces in cinema. He has one of the best expressionless faces. And this has always been the case, long before his reconstructive facial surgery. When he yells, smiles, laughs, whatever, theres still a bit of apathy and boredom in his face that always makes you crack up more than usual. Given Jim Jarmusch's fascination (at times) with Japanese culture, I'm surprised that he and Kitano have never collaborated on a film before. And honestly, these days, I would much rather Kitano act in a Jarmusch film instead of a Tarrantino film, who's notorious for his fascination with asian culture.
The existential nature of the film i mentioned earlier has to do with Otomo's seemingly growing apathy for the yakuza lifestyle. He seems to be sick and tired of the finger chopping, turf wars and other things that come with the life of being a Japanese gangster. One scene in the film does a great job a highlighting this. In the middle of a heated debate with a rival Yakuza boss, he just starts laugh arrogantly, as if to say "i honestly don't give a shit what we're arguing about" (a short moment of this scene is in the trailer below).The soundtrack to this film is done really well too. Very synth-heavy and moody. And as i stated in a facebook post last week, the drill scene in 'Marathon Man' has taken 2nd place thanks to this movie (once again...look at the picture above). Anyone who's a fan of Jarmusch, Tarrantino or Takeshi's previous gangster films will love this movie.
Since this movie played at Cannes, NYFF and other important film festivals last year, I'm almost certain that this will get some kind of a short release in nyc (most likely Walter Reade or BAM).
And on another note, I'd also like to stress that if there was ever time to Join a theater, NOW is the time. Through the summer, if you join Japan Society, half the proceeds of your membership go to the earthquake victims in Japan. And whats a little more unique in joining Japan Society over places like Anthology or IFC (not taking anything way from those theaters, because I'm a member at both places), is that Japan Society is more than just a movie theater. They have art exhibitions, lectures and plays as well.
Japan Society Membership Info
And if you haven't seen Sonatine, i HIGHLY recommend it. Its a great movie, with many of the same elements of Outrage; violence, humor, hypnotic music and existentialism. (sorry i couldn't find a good English trailer, but whatever, you'll get the gist of the movie). This movie is part a 2-disc special edition dvd with the Zatochi remake (also starring and directed by Kitano).

MIAMI VICE

Wow, this movie just gets better and better each time i watch it. I really cant believe I'm saying this. And its not a diss too Michael Mann, because i think he's an amazing filmmaker (as I'm sure some of you have heard me say plenty of times already), but a miami vice movie adaptation was something i had NO interest in seeing. I didn't care who was directing it. I guess that's why i never got around to watching 'Miami Vice' until late last year. In the last few months this has become one of my "go-to" movies when i cant decide what to watch or just need something to put on the TV. Even when I'm doing something else and cant pay attention to the television, this is the perfect movie to have on. I mean, you don't need to pay attention to the plot to realize how beautifully this movie is shot. And I'm saying this without even owning one of those nice hd TVs or a blu-ray player (i still own a big tube television). I don't know how many of you have actually been to miami, but Ive been there quite a few times and as far as I'm concerned, Michael Mann does an amazing job of catching the cities true vibe, just like how Robert Altman shows Los Angeles or how Woody Allen or Martin Scorsese capture New York City. Without making things distracting, Mann makes great use of cities nightclubs, architecture, palm trees, neon lights and beaches...

And in a more subtle and (somewhat) realistic way, Mann captures the vibe of the original T.V. show (although at the end of the day the movie is pure fantasy just like the show was (and i guess if you weren't in to the tv show that comparison doesn't help, but whatever)...

In the film, Jamie Foxx and Colin Ferrell star as the iconic TV characters "Crockett & Tubbs", who go undercover to infiltrate a major drug operation run by a Spanish kingpin who's in a partnership with local miami skinheads. This movie is underrated. People look at me like I'm crazy when i tell them how much i love it. When it comes to action films that involve cops, I think people have gotten way too caught up in that cliche of the "gritty, realistic, cop drama" genre. I mean, its MIAMI VICE. this isn't hill street blues or law & order. When you watch miami vice, you should put aside all those images of detailed forensics and cops walking the beat on rainy new york city streets, and just enjoy the movie for what it is: great entertainment. Don't get me wrong, its not like the movie doesn't have a few plot holes or flaws in logic, but so did the TV show (which Michael Mann also produced), yet people didn't seem to have a problem with that. Why does the TV show, which is considered a "classic", get a pass, while the movie takes scrutiny from people, who i imagine some of haven't even seen the movie. And strangely enough, as flashy and "pretty looking" as 'Miami Vice' may be, the digital film making style of Mann adds a little hint of that gritty realism that i mentioned earlier.
Sure, Jamie Foxx and Colin Farrell aren't Daniel Day Lewis and Robert Deniro (in his prime), but their performances in this movie get no complaints from me. And the supporting cast, made up actors known mostly for their indie and arthouse work, really round out the cast: Eddie Marsan (vera drake and happy go lucky), Isaach Debankole (ghost dog, white material, manderlay), Justin Theroux (mulholland drive and inland Empire) and John Hawkes (winters bone, me and you & everyone we know). The score to miami vice does the job, but its still not as good as the music in Mann's other films like the insider or heat. In fact, Mann's ear for the use of good music in a film is often slept on too.
Furthermore, Miami Vice was the movie that made me realize the "eye" that Michael Mann has for setting up BEAUTIFUL shots. I always knew there was something about the look of his movies that stood out among other studio films (even before he switched to digital film making). Even a movie of Mann's that's so-so, like Ali, or not very good at all, like Public Enemies, still has better cinematography than most contemporary films. Seriously, look at these movie stills below and tell me this guy doesn't have the talent for creating amazing shots...

So stop sleeping on 'Miami Vice'. I guarantee some of you haven't seen this, yet you totally wrote it off as stupid because it was an adaptation of a TV show that some consider to be cheesy. And if you saw Miami Vice back in 2006 and didn't like it, maybe its time to give it a 2nd chance.

Looks like Ted Hope agrees with my Todd Solondz theory...

i guess it's not just me...
http://letsmakebetterfilms.hopeforfilm.com/2011/02/how-todd-solondz-is-responsible-for-over-80-indie-movies.html

HEARTBEATS (*BEST NEW MOVIE I'VE SEEN IN A WHILE*)

After feeling totally cheated by Aaron Katz's 'Cold Weather' a few weeks ago (a movie that's been getting praise from people like Roger Ebert & Ray Carney), i wanted absolutely NOTHING to do with movies involving "hipsters" anymore. I think I'm so pissed off because 'Cold Weather' was actually shaping up to me an amazing movie. I thought; for once, a "mumblecore" film that ISN'T about a bunch of whiny, annoying 20-something year old white people, living in Brooklyn, complaining about their relationship problems, saying "like" between every other word. But the last 30 minutes (along with an extremely weak plot turn) just fueled my hatred for these kind of movies. As much as i hate "mumblecore", i always find myself giving those movies a chance, and they almost always suck. "Like, like...you know?" To this day, 'The Puffy Chair' and the last 30 minutes of 'Quiet City' are the only 2 things produced by the mumblecore scene that i stand behind. Seriously, why cant the mumblecore scene be more like 'Blue Valentine' (a movie i like more and more each time i watch it) or the movie of discussion; 'Heartbeats'? Directors like Xavier Dolan (who's only 22 years old with 2 features already under his belt), give me hope about the future of cinema. This movie borrows a lot from french new wave, but since he's so young, I'll give him a pass and just assume he's going the "Tarrantino route" and paying homage to his favorite movies. I just hope as he gets older, he finds a style that's all his own, which he already kinda has.
'Heartbeats' has the playful quirkiness of Godard (specifically; a woman is a woman, masculine feminine and other various french new wave films) mixed with (good) Gus Van Sant (specifically; paranoid park and mala noche). The Lead actress's hair and wardrobe are clearly modeled after Anna Karina and the two male leads are right outta one of Gus Van Sant's wet dreams. Xavier Dolan's odd choice of music to go with certain scenes somehow works, just like with what Van Sant did with the soundtrack to 'Paranoid Park' and his segment in 'Paris je t'aime'.
The Story of 'Heartbeats' is quite straight forward: Two close friends (a guy and a girl) both have a crush on the same guy, and find themselves competing with each other to gain his affection, which puts a strain on their friendship. Furthermore, the guy they have a crush on is totally oblivious, not even gay, and has no romantic interest in either of them. I will admit, the trailer (posted below) is somewhat misleading. In fact, the trailer almost made me not go and see it. Don't get me wrong, there is an excessive amount of slow motion camera-work in the film, but its actually done for a very good reason. A lot of the slo-mo shots focus on the actors' facial expressions when they are put in uncomfortable situations. Dolan's use of slow motion also does a great job at accentuating the actor's bodies (especially the lead actress). Plus, all the slow camera work is evened out with plenty of hand held cinematography.
As it says in the title, this really is one of the best (new) movies I've scene in a long time, and i highly recommend it. Its funny too, because this movie looked something i would typically hate. Xavier Dolan is a director i see catching the attention of Gus Van Sant, and i wouldn't be surprised if the two of them collaborate in the future.

CHAMELEON STREET

There's cult status and then there's obscurity. Wendall B Harris' award winning film Chameleon Street - the amazing true story of Detroit conman William Douglass Street - seems to teeter between both categories (although Obscure or not - this is still one of the greatest films to show the Black experience). On one hand, the movie maintains its cult status through screenings at arthouse & independent theaters all over the world. In the last year alone, the Brooklyn academy of music has single handily kept this movie alive in New York City. The film is also very popular among the non-fickle, non-tyler perry black film community as well. Chameleon Street also gained a newer, younger audience ("the hip-hop generation") due to Blackstar (mos def & talib kweli) sampling a famous scene from the film on their debut album.
But Chameleon Street is slowly slipping in to obscurity as the DVD is now out of print (but there are some used DVD's in circulation). And what makes the film's legacy even more obscure is that Wendall B. Harris has yet to direct another film thus making him more "irrelevant" & less "fresh" in the world of cinema. It's very suspect that a Black director who wins the jury prize at Sundance never had the opportunity to make another film in over 20 years. Were his ideas too unconventional & challenging? Was his attitude too independent? Has he been blacklisted by the movie industry? Does he have an ego that makes him difficult to deal with. His career as a director seems to mirror that of of Alex Cox who once had a promising start with Repoman & Sid & Nancy, but because of his independent/D.I.Y. attitude, he can't seem to get a film financed to save his life these days (and when he does its...Repo Girl). But at least Alex Cox was given numerous opportunities to fail. Harris never got a single opportunity to fail. You can call Black people sensitive & paranoid when it comes to race & racism but when you take the career of Wendall B Harris - you have to agree there is at least a case for some possible funny business on the racial side of things...

On a sidenote - 1989 was an amazing year for independent film. Even though it marked the year of John Cassavetes's death (which was a major blow to American independent film), indie film still brought us; Drugstore Cowboy, Mystery Train, Unbelievable Truth, Do The Right Thing& Sex Lies & Videotape, which are not only some of the best movies of the 80's, but they also ushered in the 90's American independent movie renascence. Most of the directors, actors & writers associated with the aforementioned films went on to some form of greatness while Chameleon Street and its director faded away in to semi-obscurity. In fact, Harris' peer; Steven Soderbergh seems to be the only person to keep his name alive (Soderbergh cast him in Out of Sight)...

Harris' cameo in Soderbergh's Out Of Sight

Steven Soderbergh has been an advocate for underrated/underappreciated Black filmmaker for years...

Bill Duke's cameo in The Limey

Soderbergh helped get the word out on Killer Of Sheep

Harris also had an unexpected cameo in Road Trip which I still find strange because I know the target audience for that movie had no idea who Harris is or how important he is in the world of indie/Black film...

The legacy of Chameleon Street is becoming so forgotten (by certain specific so-called important movie publications) that it isn't even acknowledged as being one of the most important films in the "modern black film canon" (Slate recently published a list of the 50 most important Black films and they not only excluded Chameleon Street - probably the most important film that should be on that list - but other challenging films like Side Walk Stories, Black Venus, Symbiopsychotaxiplasm and countless others). It goes without saying that Chameleon Street is one of a kind and challenging (we'll get in to why towards the end of this write-up) but, in my opinion, influence goes a long way as well. Influencing other arts solidifies your importance on some level and it implies longevity because a piece of your work has rubbed off on future films...

Will Smith referenced the rubix cube scene from Chameleon Street (L) in The Pursuit Of Happiness (R)

Mos Def & Talib Kweli's sampling of one of Chameleon Street's most famous scenes...

Chameleon Street also references older important (BLACK) films that came before it (this is important because it makes Chameleon Street an abstract/subconscious lightweight history lesson in modern Black cinema)...

Chameleon Street/Black Girl

Chameleon Street/Black Girl

Addressing the camera directly: Chameleon Street/She's Gotta Have It

In Chameleon Street Wendall B Harris plays conman William Douglass Street. Street managed to successfully portray a doctor, lawyer, sports journalist and he even took the identity of a Yale student. Imagine Catch Me If You Can but only better. Chameleon Street is slightly more original than the average biography/biopic because the film was made in such a non-traditional way (it's both gritty and dreamlike/slightly off-kiltered at the same time). Harris touches on everything from racism & class to depression & identity (specifically within Black males, which is something that's pretty rare).
The lead performance, the writing & the overall atmosphere (which is an almost indescribable combination of eeriness and dark humor with creepy voice over narration) makes it stand out among so many other movies concerning the complexities of race.

TODD SOLONDZ AND HIS INFLUENCE ON AMERICAN INDEPENDENT FILM (and a few other exceptions)

Seriously, am I the only one who noticed the change in tone, subject matter and style within (mostly) American independent films ever since todd solondz (one of my all time favorite directors) blessed us with; 'welcome to the dollhouse' and 'happiness'? since 1999/2000, it seems like there are more and more todd solondz clones at every sundance film festival. We've all heard that generic Todd Solondz criticism before (and quite frankly, its getting kinda old); "why does he make such disturbing movies?" Well if that's how people feel, then why have so many movies over the recent years taken something from him? Why has he (and a small handful of a few other directors) influenced so many films?
Pedophiles have been painted in a more sympathetic light, and made out to be less of the monsters that they are (brian cox in 'l.i.e.', kevin bacon in 'the woodsman', jake earl haley in 'little children', etc). I'm sorry, but you can pretty much trace those specific performances back to Dylan Baker in 'Happiness'. American Film makers have been exploring themes of; sexuality & sexual orientation (me and you and everyone we know, wild tigers i have known, l.i.e.), violence (elephant, homeroom, dear wendy, after school) and the theme of 'coming of age' all together in a much more blunt and graphic fashion ever since 'Welcome to the dollhouse' hit the scene.
What stands out the most to me however, is the overall atmosphere and style of Todd Solondz's films that you see in so many recent American independent films. You all know what I'm talking about. Its that mixture of bright colors and wholesome-themed music set in suburbia, mixed with insanely dark humor (that usually involves kids).
Now this cant all be attributed to Solondz. His peers like Hal Hartley and Todd Haynes also helped to shape a lot of the independent films over the recent years as well (specifically; poison, safe, henry fool and trust). But as far as I'm concerned, its Solondz's style that shows the most in other people's films. Whats sad about this influence (that most people, including today's indie directors themselves who aren't even aware of it), is that 75% of the movies influenced by Solondz (along with Hartley & Haynes) aren't even good.
But seriously, when you look at the movies on the list below, just stop and think about it for a second. If you have the time, try watching some of his films, then try watching some of the movies on this list right after another to really get what I'm talking about.
Anyone who knows me well, knows that not only do i always speak highly of Todd Solondz, but Ive always preached how so many films copy his style. Well, thanks to mubi.com and its addictive list-making feature, Ive come up with a list of films that have borrowed (or in some cases stolen) from Todd Solondz. Seriously, years from now when Todd Solondz is dead, everyone is gonna be talking about how influential he was. I'm using this as an opportunity to document that not only was i one of his biggest fans, but i recognized his genius long before he died. Ray Carney has John Cassavetes. Roger Ebert has the coen bros. I have Todd Solondz.

so here is my list...
http://mubi.com/lists/23069

BLACK HISTORY ON FILM PART TWO: HUNGER

WTF?!?! A movie about the IRA for black history month??? I know, i know, it sounds a little strange, but keep reading...
Needless to say, this is an odd pick, but if we're talking about black history in film, this movie has to be mentioned. Lets just put aside the fact that 'Hunger'; a biography about IRA member Bobby Sands and his famous hunger strike in prison, is a GREAT film. And lets also put aside the fact that Michael Fassbender's dedicated performance (and weight loss for the role) is not only one to put Christian Bale in 'The Machinist' to shame, but its one of the must underrated performance of the last few years. We're not going to focus on that stuff. We're going to focus on the making of the movie. The man behind the camera. This recent hit at Cannes, made history not once, but TWICE. 'Hunger', directed by Black filmmaker; Steve McQueen (no, not "Bullit" Steve McQueen) won the "Camera D'or" award at Cannes, which is basically the equivalent for best first feature. Spike Lee never even pulled that off, and there was a time when Europeans (especially the ones at Cannes) LOVED him. On top of that, the movie itself, taking advantage of the flexibility of digital film making, featured the longest unbroken single shot in a mainstream film (17 minutes long). So, not only did Steve McQueen become the first black filmmaker to win best first feature at Cannes, but he also set a record for longest unbroken shot in a "mainstream" film.
Usually directors with a background in either photography (like Steve McQueen) or music videos who make their directorial debut, usually fall victim to putting more emphasis on the style and atmosphere of the film, and less on the actual story and the performances. Steve McQueen got right on his first try. And whats great is that his next film is a biography on Fela Kuti (there, are all you guys questioning as to why i would mention a film about the IRA during black history month happy now?!?! He's doing a movie about Fela Kuti next, so shut up). My only fear about this biopic is that i cant think of a single actor who's able to pull of a performance of such a unique figure.
I imagine not too many black people (especially African Americans) are aware of Steve Mcqueen and his accomplishments, because they're either too busy pretending that Tyler Perry is the only relevant name within the world of black film. Lets not forget about how the so-called black film community pretty much ignored Mariannae Jean Baptise's ACADEMY AWARD nominated performance in Mike Leigh's 'Naked'. In fact, here's some more black history for you: Marianne Jean Baptise became the only black actress to be nominated for an academy award, but not nominated for an image award (which is essentially an awards show that supposedly honors excellence in film among black people). Its ironic how black people are the first to complain about not being recognized for all these movie award ceremonies, then they turn around and totally ignore great black performances and achievements in film making themselves. Anything outside of their comfort zone of Madea, Martin Lawrence or movies about backyard family bar-b-cues never seem to register.

BLACK HISTORY ON FILM PART ONE: PORTRAIT OF JASON

Not that I'm trying to play in to the idea of "black history month" being the only month we should celebrate, study or focus on anything that has to do with African American history in this country, but i figured this would give me an excuse to recommend some good films on the subject through out the month of February. And if anyone is interested, BAM will be having a series on black films through out the month of February (including the criminally underrated 'Chameleon Street').
There was quite a bit of interest in Shriley Clarke's films last year. Anthology Film Archives did a retrospective on her, and a few months ago, IFC screened the movie of discussion: 'Portrait of Jason'. With all this sudden interest, i cant help but hope that the masters of cinema, kino or criterion (specifically their sub-label; eclipse) will finally release Clarke's work on dvd. Shirley Clarke has always gone against the grain (sorry to sound so cliche, but its true). Not only was she an American female director working during a time when there weren't many (still aren't today), but the subjects of almost all of her movies were black people or some kind of black subculture. I'll always give credit to Melvin Van Peeples for pretty much starting the black film movement (which eventually turned in to the silly "blaxploitation genre"), but Shirley Clarke definitely planted the seeds for the African American film movement. Aside from the fact that her movies were a big hit among the NYC film underground, Europeans, and other demographics who weren't regularly exposed to (respectable) black films, but she even played a Major role in black films that she didn't even direct. She loaned John Cassavetes her camera equipment so that he could make his first (and groundbreaking) film 'Shadows'; a movie about racial identity among 3 black siblings (2 brothers and 1 sister) who are all different skin tones. From then on, John Cassavetes himself encouraged his friend Ossie Davis to direct his first film, and set up a meeting for Gordon Parks with warner brothers so that Parks could make his first film; 'The Learning Tree'. Shirley Clarke's un-patronizing look in to the lives of black people as actual people and not "subjects", paved the way for other white female filmmakers with a similar focus, namely; Claire Denis (no fear no die, 35 shots of rum and i cant sleep).
For a movie made in the mid 60's, 'Portrait of Jason' was a head of its time. Its not like homosexuality wasn't explored in films, but it certainly wasn't explored in (the few) black films that were around. Typically, an almost 2 hour long documentary that pretty much takes place in one room, interviewing one person sounds like an incredibly boring movie, but trust me, 'Portrait of Jason' is far from boring. The title of the film is pretty self explanatory. Shirley Clarke interviews a gay black, conman/prostitute/hustler (Jason Holiday) about his far from normal everyday life. Through the course of the film he gets more and more drunk, and talks about his disdain for living a "normal" 9-5 lifestyle. He also gets in to his different hustles and schemes while making fun of himself at the same time. Jason Holiday is such a great interviewee, and you never lose interest in him (a few times in the movie, you can clearly hear the crew in background break out in laughter at his responses). In fact, you almost cant wait to hear what he's going to say next. The combination of his hilarious personality mixed with his stories make the documentary just as hilarious as it is tragic. As you watch this movie unfold, you can see the blueprint for future films like; 'Paris is Burning' (probably one of the most intriguing documentaries ever made) take place right before your eyes. The open homosexuality of the documentary, while at the same time not being the "focus" of the film, may have very well inspired future filmmakers like Gus Van Sant, and it also shares similarities with the works of Rainer Werner Fassbinder and Andy Warhol as well.