Wednesday, June 14, 2017

Frameline41 San Francisco LGBT Film Festival June 15-25

By Moira Sullivan

The largest ongoing LGBT film festival in the world, Frameline41, the San Francisco International LGBTQ Film Festival, will take place June 15-25, 2017. This year there are films from over 19 countries and the good news is 40 percent of the films are made by women directors. Here are some highlights:

The OPENING NIGHT Film and Gala on June 15 is THE UNTOLD TALES OF ARMISTEAD MAUPIN  directed by Jennifer Kroot. This will be the Bay Area premiere. Armistead Maupin will be in attendance and is warmly remembered for his Tales of the City. The film includes interviews with Sir Ian McKellen, Laura Linney, Olympia Dukakis and others.

AFTER LOUIE - Closing Night Film, on June 25, the debut feature of Vincent Gagliostro in a West Coast Premiere. The film's protagonist Sam (Alan Cumming) hails from the onslaught of HIV/AIDS in the 80's and 90's and was an ACT UP activist. He is skeptical of a younger generation of gay men and their lack of political commitment or convictions but when he meets the young Braeden, he becomes open to new ways of thinking. Alan Cumming will be the recipient of the 2017 FRAMELINE AWARD.

CENTERPIECE features include BECKS by Daniel Powell and Elizabeth Rohrbaugh. When Becks' lover leaves her for a younger woman she moves home with her ex-nun mother played by Christine Lahti  - and when she least expects it finds romance in the Midwest. Plays on June 21

CHAVELA is a documentary directed by Catherine Gund and Daresha Kyi about the famous Costa Rican Mexican singer Chavela Vargas who died in 2012. She was in several of Pedro Almodóvars films and sang the soulful "Paloma Negra" (Black Dove) in Julie Taymor’s 2002 film "Frida". Screens June 19.

I DREAM IN ANOTHER LANGUAGE (Sueño en otra idioma), which won the Audience Award at the 2017 Sundance Film Festival concerns a fifty-year feud between speakers of a a dying indigenous language in Mexico. June 20

Other noteworthy films are THE DEATH AND LIFE OF MARSHA P. JOHNSON by David France, which investigates the 1992 death of transgender pioneer Marsha P. Johnson. In the course of making the film interviews her friend and comrade Sylvia River both instrumental in the modern trans rights movement. June 22.

THE FABULOUS LIFE OF ALLAN CARR, by Jeffrey Schwarz, is the story of the successful producer Allan Carr who was behind productions such as "Grease" and the Broadway hit "La Cage aux Folles", but who screwed up when producing the 1989’s Academy Awards ceremony, which is considered one of the worst Oscars. Walt Disney sued when Carr paired Snow White (Eileen Bowman) singing with Rob Lowe among other blunders.  June 18

For Whitney Houston fans WHITNEY. “CAN I BE ME”, by Nick Broomfield and Rudi Dolezal, is a stark portrait of the late artist with never before sceen footage of her life. June 20

One classic film not to miss is LOOKING FOR LANGSTON, by Isaac Julien, a digital restoration of the 1989 poetic treatise of the Harlem Renaissance. June 19. Another is Donna Deitch's classic lesbian romance DESERT HEARTS from 1985 in a new digital restoration.

GIRL UNBOUND, by Erin Heidenreich takes a look at a high ranking female squash player in Pakistan who has been playing since here teens but had received death threats from the Taliban but who refuses to stop. June 18.

There are many more films at the festival that deserve mention and these are only a few of the excellent choices made by programmer Des Buford who is planning to retire from the festival after many years of service and go on to new opportunities.

© 2017 - Moira Sullivan - Air Date: 06/14/17
Movie Magazine International

Wednesday, May 3, 2017

Rare Noir at the San Francisco Roxie

Silvana Mangano and Doris Dowling in "Bitter Rice"

By Moira Sullivan
The second series of A Rare Noir is Good to Find screens at the Roxie May 5 through 8. Programmer Don Malcolm brings us 11 films on international noir from the 1950’s. Countries include Egypt, Eastern Europe, Latin America the Far East and Western Europe. During this postwar period, there are many commonalities in these films that are evident in classic noir.

On May 5, CAMINO DEL INFIERNO (The Road to Hell - 1951, Mexico) features a femme fatale Mexican actress Leticia Palma as Leticia. She wants expensive jewelry and furs and is lovers with Tony who works for gang boss León. There are many twists to the plot including betrayal, and a missing hand.

No film better addresses the excesses of lawlessness than IN THE NAME OF THE LAW (In Nome Della Legge - 1950, Italy) screening on May 6. Directed by Pietro Germi the film stars Massimo Girotti as the newly installed judge in a small Sicilian village - Guido Schiavi. The people are described as descendants of ancient customs that outsiders don’t understand but several captains patrolling the area with guns on horseback are not hard to figure out. This film surely influenced Coppola’s The Godfather II starring Al Pacino. Pietro Germi is a skilled director and the film is one of the best at this series of noir films.

On May 7, STRANGE ENCOUNTER screens (Estranho Encontro - 1958, Brazil) directed by Walter Hugo Khouri. This is another film that pulls you in instantly. Marcos (Mário Sérgio) driving on a country road is stopped by the figure of a woman, Julia (Andrea Bayard). falling on top of the hood of his car, her heels sliding from underneath her feet. She seems to come from nowhere but is actually the girlfriend of a man with an amputated leg she wants to escape, that she met in the clock shop where she works – Hugo (Luigi Picchi) .

Also on May 7 is BITTER RICE (Riso Amaro - 1949, Italy) directed by Giuseppe De Santis. the most handcrafted and compelling film of the series starring Silvana Mangano as the femme fatale Silvana and Doris Dowling as Francesca. The film is set in the North where every year women arrive to plant rice and take home some of it to their villages. They are paid workers and class differences between paid workers and scabs or the illegals are made clear. Yet the women tend to unify. Silvana refuses the advances of Marco (Raf Vallone), a soldier she grew up with and Francesca has fallen in with the petty thief Walter (Vittorio Gassman.)

On May 8 films from Japan and South Korea known for high quality technical achievements make for excellent noir.

CASH CALLS HELL (Gohiki No Shinshi - 1966, Japan) is directed by Hideo Gosha. Tatsuya Nakadi, plays a broken man who had it all – the boss’s daughter, the company car, a pension, a good salary and a lover who grabs the steering wheel sending him into a swerve that mow down a man and his daughter. While in prison he is contracted to kill three men when he gets out.

THE HOUSEMAID (Hanyo - 1960, Korea) is by Ki-Young Kim. The head of nuclear family reads in the news about a housemaid that seduces the master of the house and brings him to ruin. This foreshadowing continues and puts his family on the edge. 

These and more films at the Roxie 5-8 May.

© 2017 - Moira Sullivan - Air Date: 05/03/17
Movie Magazine International

Wednesday, April 26, 2017

Agitprop - Noir with a Message - at the Roxie

By Moira Sullivan

The organizer of several excellent special programs on film noir at the Roxie in San Francisco,  Don Malcolm,  hosts films he calls Agitprop and says we can learn from especially given the political climate of today. (Part of the A Rare Noir is Good to Find series). Prior to the present administration where human rights are at stake films like these were relics from the past reminding us that social justice was abused by the discriminatory legislation and institutions that defied human rights.

Racist and anti-Semitic vigilante groups that worked to meter out abuse is the subject of the film Open Secret, directed by John Reinhardt, a B film noir classic from 1948 starring John Ireland. A newly married couple Paul and Nancy Lester bunks down in the apartment of an old friend who never returns. They become embroiled in discovering there is a clandestine operation that seeks to snuff out Jews from the community and make their life difficult with constant harassment. Photographs taken by the old friend are incriminating evidence developed by a Jewish shopowner across the street and a roughhouse gang will do anything to get their hands on them. Nancy (Jane Randolph) can be counted on to scream at just the right moment, and Paul (John Ireland) is determined to get to the bottom of this. The claustrophobic set design has people living nose to nose with neighbors. There is also a nosey landlady Miss Trissdam (Anne O’Neal). It is interesting to note how the shady gang manages to keep hidden in a dark basement seated around a table making dastardly plans lead by Carter, played by versatile veteran character actor Arthur O'Connell. The crusaders of justice are the newlyweds, and Detective Sgt. Mike Frontelli played by Sheldon Leonard.

Also in the program is an episode of the TV series from the early 60’s The Defenders, (1961)  about a father and son law firm - Lawrence and Kenneth Preston-  starring E.G. Marshall and Robert Reed. Reed has little to do in this trial where a physician Dr. Ernest Montgomery (Robert Simon) is in custody for performing illegal abortions. The women who are called as witnesses have either had abortions or were counseled against having them including the underage Sarah played by Kathleen Widdoes. Lawrence Preston as chief counsel for the defendant is an intelligent bold and shrewd lawyer whose case is heard by the sympathetic and humanitarian Judge Burton Henshaw (Judson Laire). The emphasis is on the young women who volunteer to be witnesses and speak on behalf of their doctor.

Edward Dmytryk, who grew up in San Francisco made I in 194,  the third film in this special series. Dymtryck was later blacklisted in Hollywood for refusing to cooperate with the House on Un-American Activities (HUAC), and was one of the Hollywood Ten. The film concerns the murder of a Jewish Man Joseph Samuels (Sam Levene), which is investigated by Detective Findlay (Robert Young). Findlay’s sleuthing leads him to a witness who is crucial for the defense played by Graham. Robert Mitchum plays Sergeant Kelley. The film is an important example of film noir because it brings into question whether noir is really noir if it has a message.

May 2 though 8 the Roxie Theater hosts more films from the A Rare Noir is Good to Find series and will be reviewed next week on Movie Magazine International.

© 2017 - Your Name - Moira Sullivan - Air Date: 04/26/17
Movie Magazine International

Wednesday, April 19, 2017

70th Edition of the Cannes Film Festival

By Moira Sullivan

The 70th Edition of the Cannes Film Festival runs from May 17 to 28 with Spanish director Pedro Almodovar presiding as President of the Jury of the Official selection. Also noteworthy is the Mistress of Ceremonies for the event, a gender title which sounds unworthy of Italian actress Monica Bellucci.

The festival poster this year is Italian actress Claudio Cardinale dancing on the rooftops of Rome in 1959. Already stirring controversy is the airbrushing of the poster that diminished the waist and thighs of the actress. This didn’t bother Cardinale who identifies as a feminist and said that she is proud of her body image in which she dances film-- this is just a representation she said Presiding over the Camera d’or jury as president for a director's first work jury is Sandrine Kiberlain French actress who has worked with the French director Laetitia Masson where she won the most promising actress at the 1995 French Cesar wards and in 2013 and 2014 she won Cesars for the best actress.

In the official selection three women are among the 22 directors – Sofia Coppola The Beguiled, Lynn Ramsey, You Were Never Really Here, and Naomi Kawase Hikari (Radiance). All three directors have been invited with their films previously into the official selection.

Coppola's film stars Kirsten Dunst, Elle Fanning Nicole Kidman, and Colin Farrell. Set during the civil War in Virginia in 1864, a wounded Union officer arrives at a Confederate girls school and charms all the women. The film has previously been made by Don Siegel in 1971 starring Clint Eastwood as the soldier, which was not a particularly noteworthy film but Coppola must have her reasons for doing it again, as we shall see.

Naomi Kawase was nominated for the Palme d’or in 2014 for Still the Water, and this year Hikari is about a photographer with a wandering eye who meets a socially reclusive woman.
Lynn Ramsey, You Were Never Really Here Stars Joaquin Phoenix as a war veteran who tries to stop a young girl from becoming a victim of a sex trafficking ring.

Male veteran directors to Cannes this year include Michael Haneke, Le RedoutableTodd Haynes Wonderstruck, Greek Director Yorgos Lanthimos The Killing Of A Sacred Deer and François Ozon L’amant Double.
Other sections of the festival include Un Certain Regard whose jury is presided over by president Marthe Keller Swiss actress, the director’s fortnight, and a special section called ACID –the association of independent filmmakers that has been created to give visibility to lesser known directors in hopes of theatrical distribution.

In a festival that is usually 70% men, it is with great anticipation that French director Agnès Varda will present a new film, Visages Villages out of competition. Another special event with be Vanessa Redgrave's directorial debut Sea Sorrow on the refugee crisis.

Special 70-year anniversary events include: Jane Campion and Ariel Kleiman’s Top Of The Lake: China Girl, The Second Season starring Elizabeth Moss, and also Nicole Kidman, the late Abbas Kiarostami's 24 Frames, and David Lynch’s Twin Peaks. Also highly anticipated is Kristen Stewart’s short film Come Swim that already debuted at Sundance.

© 2017 - Moira Sullivan - Air Date: 04/19/17
Movie Magazine International

Wednesday, April 5, 2017

Hadas Ben Aroya's “People That Are Not Me” wins jury prize special mention at Créteil

By Moira Sullivan

The title of “People That Are Not Me” by young Israeli filmmaker Hadas Ben Aroya is intriguing for so many young women are like Joy, viscerally played by the filmmaker. Winner of the Jury Prize, special mention at Créteil Festival International de Films de Femmes 10-19 March, 2017.

The precociousness of youth is and is not wasted in this film, along with the spirit to experiment with stability and freedom in relationships.  Joy has just broken up with her boyfriend and becomes friends with Nir (Yonatan Bar- or ) and isn’t against dating other men. The focus of the film is on the passage of time by youth before establishment and also is about gender differences. The film comes close to not passing the “Bechdel Test” designed by Alison Bechdel. A film to pass the test requires two women with names who talk to each other about something other than men. In the scene that makes the film pass the test, Joy meets a woman at the bar of a nightclub she has frequented with Nir. Michal introduces herself to Joy, played by Israeli dance-theatre artist Hagar Onosh. Both women more or less have slept with Nir. Yet “People That Are Not Me” puts this test on alert because the film is overwhelmingly a stark portrait of a woman, and men are minor characters.

The “free” Nir seems fairly nerdy and it’s hard to see what Michal or Joy see in him. He is either busy on Facebook all day or working on his dissertation and spending time at the local nightclub. The fine print is that he is incapable of commitment which he willingly shares.

Joy works part time somewhere and spends her time on video art, and she can play a few chords on the guitar. Otherwise Ben Aroya’s film is a naked portrait of a frustrated woman whose emotions can be detected in every shot, a woman set up for failure in relationships, an engaging woman who is both tough and vulnerable surrounded by malcontents. The uncompromising intimacy scenes shown with regularity are raw and candid, just as every inch of Joy’s gestures and face - in every scene of the film.

The filmmaker has stated that the film is about the “non-unicorn” lives of her friends but they seem fairly common today in major cities such as San Francisco, Paris , London and Stockholm. The young people spend time in bars, have sex with each other, study and work in the modern arts or in web design. It is a universe of the youth scene in Tel Aviv that international audiences will be interested in learning about especially the introduction of this bold Israeli filmmaker.

Cinematographer Median Arama makes clean and uncompromising shots of interiors. Many of the scenes are along pedestrian lanes lined by cars and apartments, Joy’s apartment and the neighborhood nightclub. Arama’s use of confinement captures the mis en scène to convey just the right amount of distress for the characters, including a scene where Joy cathartically wrestles in bed with her ex-boyfriend. Editor Or- Lee Tal carefully arranges the shots, and it can be inferred that Hadas Ben Aroya stands for the production design. All three are students at the Steve Tisch School of Film at Tel Aviv University.

© 2017 - Moira Sullivan - Air Date: 04/05/17
Movie Magazine International


Wednesday, March 29, 2017

"Sami Blod" examines historical discrimination of the Nordic Sami

Lene (Cecilia Sparrok) and Njenna (Mia Erika Sparrok) 

By Moira Sullivan

Sami Blod (Sami Blood – English) won the Jury Prize for best film at the Créteil International Film Festival that ran from 10- 19 March. The film was directed by Amanda Kernell in a co-production with Denmark, Norway and Sweden. Kernel attended the Danish Film School.

Sami Blod begins in modern times where retired teacher Christina (Maj-Doris Rimpi) reluctantly attends the funeral of her sister in Northern Sweden with her son and granddaughter. When she arrives she distances herself from the people who are Sami’s and refuses to speak their language. She walks off to a hotel and refuses to live with them and to participate later in reindeer herding. Then there is a flashback to the 1930’s in Sweden where two sisters are sent to boarding school to learn Swedish customs. Elle Marja ( Lene Cecilia Sparrok) and Njenna (Mia Erika Sparrok) – both sisters in real life undergo blatant discrimination in the form of heckling by the villagers, and are subjected to race biology examinations, a series of photographs and measurements to ascertain Sami differences from ethnic Swedes.

Christina right away takes issue with this and instead tries to ignore her heritage and her sister to blend in with the Swedish society. She is willing to go to any lengths for this to happen. First she attends a dance and becomes interested in a young Swedish man, finds out where he lives with his parents and asks to spend the night while he is away. Even in her attempt to suppress her identity she is subjected to further scrutiny by young students such as being ask to “yoik” – that is sing the traditional and sacred form of song of the Sami people.

Lene Cecilia Sparrok stands out in this role as Christina or Elle Marja. Her ability to authenticate the feelings of this young 14 year old women – the eagerness to belong and the shame from feelings different is heart breaking. This is Sparrok’s film debut and there is every reason to believe from this authentic and talented performance that she will be offered future dramatic roles. Kernell is correct involving Sparrok in nearly every scene of the film for it is through Elle Marja’s evolution into Christina that we witness the sadness of a beautiful and bold group of people that is put to ridicule by the dominant culture and how its specialness is wiped away as the young woman turns away from her people and from herself.

"Sami Blod" is an homage to the Sami people, the indigenous people that live in Sápmi - the Northern Scandinavian countries and coast of Russia, and their colonial appropriation to conform to the dominant culture. The modern day Sami were not allowed to speak Sami in school and were often shamed. Yet, archeological evidence from the Viking and early medieval period demonstrates that “the relationship between the Sami and Nordic populations was based on cooperation and mutual respect rather than exploitation and harassment” (Odner 1983, Hansen and Olsen 2004).

Shot in seven weeks it was usual for Kernell to have 13 takes for each of the scenes, primarily to make the film authentic for the Sami people.

 © 2017 - Moira Sullivan - Air Date: 03/29/17
Movie Magazine International

Wednesday, December 7, 2016

'Fire at Sea' by Gian Franco Rosi goes deep beneath the surface

By Moira Sullivan

Gian Franco Rosi told me that the US does not show his films. Now they have. "Fire at Sea" was screened at the Mill Valley Film Festival in October and the Short Story Doc festival here in San Francisco. It won the Golden Bear at the 2016 Berlinale Film Festival, and is Italy's Official Submission for the Foreign Language Oscar at the 89th Academy Awards, already one of 15 contenders. Rosi took home the Golden Lion at Venice in 2013 for his film about the periphery highway around Rome called "Sacro Gra" where migrant communities live. The same provocative film style with Rosi behind the camera is used for "Fire at Sea", a documentary about a small island near Sicily, Lampedusa, that receives refugees that have voyaged primarily from Sub Saharan Africa risking life and limb. The way they are received by the villagers is important. The Eritrean born Italian who went to film school in New York at NYU shows some of the villagers such as 12-year-old Samuele and his family to make this a very personal film. "Fire at Sea" is made without traditional interviews but creating a story out of the conditions of the refugees at Lampedusa and the villagers on the island.  The picture language is both engaging and contemplative.

Rosi said he at first was only going to film a 10 minute story of Lampedusa until he met the island’s doctor Dr. Pietro Bartolo, who certifies deaths , and provides treatment to survivors, and he realized that the situation was larger in scope. He spent more than a year on the island, speaking with villagers about how the migrants seeking refuge has affected them. Today, they are intercepted by a boat called Mare Nostrum and never make it to Lampedusa proper, only its old port and then they are bussed to detention centers on the mainland.

Amnesty International has reported on the growing death toll of refugees crossing the Mediterranean from North Africa from Eritrea, Afghanistan, Somalia, Nigeria and primarily Syria. They report about the increasing use of negligent rubber dinghies that smugglers transport refugees in and the smell of oil on the survivors that reach shore. The day before I interviewed Gian Franco Rosi in early November there was a news report in the San Francisco Chronicle about the 31 survivors of two shipwrecks that reached Lampedusa with over 250 fatalities. Last year, the International Organization for Migration reported 3,777 dead crossing the Mediterranean. Rosi said that the figure was only half of the deaths this year or more - those we don’t know about could increase the total.

 "Fire at Sea" moves us about an issue that concerns us. The example of Lampedusa that reaches out its hand to help these tragic victims of a war not their making in their countries should inspire those who think that a wall between Mexico and the US is a solution to prevent migratory refugees from seeking humanitarian rescue and protection. Here now is Gian Franco Rosi in an exclusive interview with Movie Magazine International.

© 2016 - Moira Sullivan - Air Date: 12/07/16
Movie Magazine International

People's Republic of China's 'Old Stone' shares health care neglect with the US

Chen Gang as Lao Shi in 'Old Stone'

By Moira Sullivan
"Old Stone" by debut director Johnny Ma from the People’s Republic of China received funding from the Sundance Institute,which explains why it has been pushed to the top of distribution channels. The film has an excellent soundtrack*, which is one of its many virtues.

The story concerns Lao Shi (Chen Gang), a taxi driver who accidentally hits a motorcyclist in a road accident – an incident that occurs when a drunk passenger shoves Lao Shi’s arm on the steering column. The victim is taken to a hospital and is in a coma. The situation evokes what health insurance companies will look like under the president elect if he succeeds in being installed in this country. Lao Shi is confronted with a bill for the hospital for the victim. The insurance agents and police tell him that he should never have taken the injured man to the hospital because it is against procedure – even though he probably would have died. In a bungle of bureaucracy, an unsympathetic wife, the uncaring spouse of the injured, a clinically efficient and inhumane hospital staff and unsupportive witnesses and friends, even legal assistance, Lao Shi is in a dire predicament. He follows his conscience and sense of duty, though no one else does. Meanwhile his daughter practices dance and his wife continues to pay the bills that they cannot afford because of the new expenses.

'Old Stone' is a curious title, suggested that Lao Shi is cut from the stuff that is disappearing from society. The People's Republic of China has emerged as an economic power but despite all its wealth, just as the US, cannot bear to help provide decent health care to its citizens. Until Obama Care this country was able to avoid the horrible moral dilemma of this film. "Old Stone" is about the rapidly disappearing values of citizen towards citizen in the absence of a government that provides basic benefits to its population. The film takes a diabolic turn after it slowly builds its case against apathy, and shows the futility of trying to live with decent human values. The cinematography is excellent in this engaging human interest narrative.

Kobiki-uta for Orchestra, Koyama
Four Studies of Peking Opera: II. Aria, Shanghai Quartet
Rohan · Men Ha Tan Bagad, Doudou N'diaye Rose (end credits)

© 2016- Moira Sullivan  - Air Date: 12/07/16
Movie Magazine International

Wednesday, November 30, 2016

Julie Dash's 'Daughters of the Dust' re-release

By Moira Sullivan
Yellow Mary (Barbarao)  and Trula (Trula Hoosier) on the beach of St Helena

Julie Dash’s Daughters of the Dust made in 1991 has long been considered an extraordinary film make within a story space perfect for the range of what cinema can do beyond merely recording moving figures. It is the first feature film made by an African American woman and it is now being re-released, proving again its status as a cinema classic.

The making of Daughters of the Dust written by Dash, which includes the film script, is the filmmaker’s account of the many setbacks that occurred before the film was finished. But the film has earned its merits and its long standing following, and although it has received some new notoriety because of some of the images in Beyoncé’s Lemonade with characters dressed similar to the characters of Dash's film from the early 20th century, that music video is not and never can be Daughters of the Dust.

The film is re-released in a 4K restoration and now today’s audiences can experience its richness. Julie Dash continues to receive commemoration as she has from the beginning (best cinematography at Sundance in 1991)  for a film that the commercial film industry decided to ignore. Its film language is unconventional and it is a film that invites multiple readings because of its construction. For that reason it will always be ripe with new meaning for the spectator.

Daughters of the Dust is about the descendants of the salt water slaves from Africa, the Gullah and members of a small community on St Helena Island who have decided to go up north and leave their 88 year old matriarch Nana Peazant (Cora Lee Day) and remaining members behind. The Gullah settled in the coastal sea islands off the coast of South Carolina and Georgia and were able to preserve their language known as Gee Chee and their traditions because of their remoteness from the mainland. These customs are shown in the film, many of which are from African spirit religion such as vessels used for the souls of the elders. The younger Gullahs have heard the oral history of their elders but they are anxious to be up north to learn new ways. This is a time after slavery in 1902 but its living presence remains in the waterways, especially a wooden statue of a slave who serves as a reminder of those who drowned at Ibo Landing rather than be enslaved.

 The film begins with the voyage of Yellow Mary (Barbarao), a woman who returns from living abroad. She is transported by a river boat by her cousin Viola (Cheryl Lynn Bruce) dressed in the modern church going clothing of the time, and her boyfriend Mr. Snead (Tommy Redmond Hicks), who is a photographer. Yellow Mary is scorned by some of the inhabitants including Viola because of her lifestyle as a prostitute in Cuba. She returns with her young lover Trula (Trula Hoosier) who has very few lines in the film and who is not prepared to give up her plans to go to Nova Scotia. Trula represents the Yoruban goddess Oshun, the golden coquette according to Dash.

The story is told through the voice over of The Unborn daughter of Eula Peazant (Alva Rogers), and Nana Peazant. Dash proclaims that the narrative construction of conventional films is not suited for the oral traditions of Africa - that salt water slaves passed down their heritage to their enslavement lands through these stories, so the film is created with many voices that weave and join with the other passages of history. Most of the film takes place on a Sunday picnic on the beach prior to the departure of some of the settlers up north.

Dash incorporates in an authentic way the ancestry of the Gullah, the experiences of the early settlers and those that were separated from their families only to return again while other new ones set out, never to be seen again by their families. The beautiful photography is by co-producer Arthur Jaffa, and the original music is by John Barnes.

© 2016 - Moira Sullivan - Air Date: 11/30/16
Movie Magazine International

Killer Tomatoes - Book Review

By Monica Sullivan
If you are a late night movie buff, here’s the deal: There is no cure.  But you really aren’t looking for one, are you?  What you need is hard core information about late night stars.  Has McFarland Book Publishers got the book for you: “Killer Tomatoes” by Ray Hagen and Laura Wagner.

“Killer Tomatoes” is an essential buff’s book.  The cast includes: Lucille Ball, Lynn Bari, Joan Blondell, Ann Dvorak, Gloria Grahame, Jean Hagen, Adele Jergens, Ida Lupino, Marilyn Maxwell, Jane Russell, Ann Sheridan, Barbara Stanwyck, Claire Trevor, Marie Windsor and more.  Ann Sheridan, for example, was SUCH a hard-boiled presence throughout her career that her early death deprived us of her voice and insights.  Extensive interviews cover that gap here.

Filmographies for each are included, and there are over 80 stills of these tough women with their male and female costars. 

Laura Wagner is one of the more perceptive contributors to Classic Images.  It’s a pleasure to read her punchy reports on the tough tomatoes. 

The introduction is by Jane Russell and there is an extensive index and a bibliography for more late night research.

“Killer Tomatoes” is highly recommended by this reviewer and you can obtain a copy of the book at or call 800-253-2187.

© 2016 - Monica Sullivan - Air Date: 11/16/16
Movie Magazine International