TransGriot Note: Mini Documentary on Chicago drag queen Saya Naomi Diaz Deleon or Gemini. It includes commentary from Christina Kahrl, who was recently featured on HBO's Real Sports with Bryant Gumbel.
Showing posts with label documentary. Show all posts
Showing posts with label documentary. Show all posts
Alexandra Billings Documentary
Alexandra Billings is another one of our iconic transwomen I'm looking forward to meeting one day. I'm looking forward to seeing her in 'Stealth' when it finally hits a multiplex near you. While searching for trans themed videos I ran this documentary about her life entitled Schoolboy to Showgirl:PThe Alexandra Billings Story posted to YouTube.
Enjoy
Part 2
Part 3
Part 4
MTV True Life-I'm Changing My Sex
Got a chance last night to check out the latest episode in the MTV True Life series that focuses on trans people. I didn't like the title, but I forgave them after I watched the show and noted how respectfully done the documentary was.The show focuses on the lives of transwoman Elle and transman Ted, who are both well into their transitions and on track for their respective surgeries.
Elle's transition is moving forward towards SRS with help of a supportive family. As you watch it, she has an unexpected and tragic loss on the road to Trinidad, CO and her surgery date with Dr. Marci Bowers.
You also get to see a snippet of Elle's breast augmentation surgery as well as her visit with Dr. Bowers. One of the cool things about this trans documentary is that it features Ted, an African descended transman. It's not often I get to see my transbrothas featured in these various documentaries, and it was a refreshing change of pace.
You get to see Ted as he juggles school, saving for his chest surgery and marriage enroute to his date with the surgeon. There's also a section in which they show a little of their post recovery surgery issues.
If you missed it last night, there's a repeat showing of it at 2 AM EDT before they eventually put it on the True Life section of the MTV website for you to watch.
CARRIER...PBS upbeat screening jolted by "Don't Ask. Don't Tell" Military controversy at DGA!
The evening was pregnant with possibilities...
In fact, the screening of "PART ONE" of "CARRIER" at the Director's Guild of America last night - to be broadcast in totality as a series by PBS (KCET locally) April 27th - May 1st - proved to be rife with bothersome jolts for the producers and unexpected moments of embarrassment for the Military brass in attendance.
The gala event started out festive, though.
When I strolled into the foyer at the DGA, I was struck by all the "suits" - PBS Executives - at the unveiling of the documentary on the USS Nimitz which KCET President & CEO, Al Jerome, was categorizing as a "landmark" project ranking right up there with the quality and excellence of former hits such as - "Hoop Dreams" and "Well-Founded Fear".
Liquor flowed from an open bar as a fleet of handsome young men clad in chic black outfits (slim well-built model/actor types) briskly circulated the room to replace the glasses as quickly as they were emptied. In addition, there were silver trays of scrumptious finger food - provided by top caterer Patina - to satisfy the most discerning palate before the curtain fell and the screen lit up.
Ah, and that's when the first glitch struck a negative chord.
Shortly after springing to life on the screen in the plush environs of the DGA, the documentary sputtered a bit, the screen went black, and a loud groan filled the theatre.
Judging by the boisterous behavior witnessed, a handful of servicemen - in civvies - were obviously among the industry-insiders. As filmgoers waited for CARRIER to restart, naughty comments like - "whose hand is that on my leg" - shot out from the dark recesses of the Theatre and broke the ice. At this point, nervous giggles swept through the darkened theatre as the production team struggled to salvage the night.
Unfortunately, when the screen sputtered to life again, the snafus persisted.
In fact, over the course of about fifteen or twenty minutes, the documentary - plagued by technical glitches - failed eight or nine times to start up on the silver screen before finally launching forward with success.
Fortunately, many at the preview were involved with the production, so they remained patient amid the brief chaos. Frankly, I thought it was ironic problems of a screening nature would surface at the DGA - of all places - what with all the state-of-the-art equipment available on the premises.
The documentary was shot on the USS Nimitz and is described by the producers as,
"A character-driven immersion into the high-takes world of a nuclear aircraft carrier."
The USS Nimitz has participated in such operations as Desert Storm, supported combat operations in Afghanistan and Iraq, and strengthened various United Nations initiatives.
To capture an up-close foray into the inner workings of the floating naval community, a 17 member film crew was imbedded on board for a six month tour. The adventure evolved into a challenging task as the production team sought to discern the ebb and flow of life on a carrier.
According to the Military Officers present, a decision was made to allow the cameramen to be "turned loose" on the ship, to effect a true log of the experience once the issue of their safety on board was properly addressed.
CARRIER was filmed in high-definition with a raw focus - and up-close personal look - at the Navy's role in the grand scenario.
The Executive producer noted that it was her specific intent to not only take an in-depth look at the crew's "high stakes environment" on a military carrier, but to also capture an honest reveal of the hierarchy from the top brass, down the pyramid, through the lower ranks of the common seaman.
"It wasn't about boys and their toys," she asserted.
In spite of that mission, some of the fighter-pilot footage does tend to be somewhat reminiscent of a handful of the striking exhilarating shots from the blockbuster thriller, "Top Gun". Here, it is the real deal, though.
To catch an unfettered glimpse into the heartbeat of the crew, the production team fervently "forged relationships" over the course of the voyage to facilitate that end. In the final analysis, the producers and their staff were able to put the crew at ease so the myriad tales were able to unfold without hindrance or falsity.
From the standpoint of the producers the relationship with their subjects amounted to an open and honest bonding over time. Bottom line, Mel Gibson's Icon Production crew came away with the impression that camaraderie had been struck which had proven to be fruitful.
However, when the spotlight turned on the military brass on the podium in the Question & Answer session - the three Naval Officers featured in the project - noted to a surprised audience that each had been reluctant to jump in full swing at first at the project's inception.
One officer had no qualms disclosing that he was initially quite a bit "skeptical of the press" because - in his own words - "They've misquoted statements in the past".
Well, I'll do my best here, Sir!
Another Officer was reticent about openly engaging with the crew and camera - but over time - was won over. What the heck, there's strength in numbers, eh?
In "PART ONE" - to air Sunday evening (April 27th) - CARRIER zeroes in on the first handful of crew members - an airman, a pilot, a cook - to be featured in the voluminous documentary.
But, over the course of the ten part series, CARRIER follows an enlarged crew core as they navigate their personal conflicts around their jobs, families, faith, patriotism, love, and rites of passage.
In particular, the producers stressed bold-faced efforts to focus the lens on the lower ranks - in particular - those from Middle America and the poor working classes in the Nation who made sacrifices in their youth to be a part of the military during an unpopular war.
A higher-ranked officer asserted on-camera that young people joined the forces because they wanted structure in their lives and "responsibilities". He assured the viewers - in an aside to camera - they get that experience in spades.
But the reasons for enlisting did not end there.
To some, the Navy was a gateway to a quality education; others, a golden opportunity to traverse the world in their prime.
Surprisingly, the mix - or cast of characters - was quite "diverse", noted moderator Huell Howser, with a tinge of surprise in his familiar broadcasting voice.In fact, the host of "California Gold" - a popular PBS offering - couldn't sing the praises of the producers enough after taking the project in.
"I served in the military," he pointed out to a rapt audience. "This brought back memories - good and bad."
"But, you know, this was reality TV at its best. Unlike those shows where six people are stranded on an island somewhere," he quipped jovially.
Mr. Howser's assessments were right on the money.
The cheerful host was well-prepared as moderator, too. With Howser at the helm, the informative discussion about the Nimitz zipped along at a good pace. In addition, a handful of questions he posed, elicited in-depth responses that resonated deeply with the audience and offered up keen insights.
No, the producers did not have an agenda. Nor did the Military intend CARRIER to be a "recruitment" film.
But, as Howser astutely noted, CARRIER turned out to be a great promo for the Navy.
Personally, I found the production values striking.
A split-screen approach to some of the subject matter (a gimmick that has been unsuccessfully utilized in the past by less-competent filmmakers) not only appealed, but swept the story along in an engaging, captivating way.
The soundtrack was powerful - killer, man!
Tracks included - "All These Things That I've Done", Killers; "The Numbers", Leh-lo; "Trucktop Butterfly", Pump Audio; "Jedi", Melpo Mene; "World", Five for Fighting.
When I asked the producer if the trendy innovative music was part of the original vision for the project, or just a tool facilitated to handily tie-up a dynamic package, she noted that a lot of energy and thought went into that aspect of the doc.
"Music is a big part of the crew's lives. So, we quizzed them about their tastes, what they listened to off-duty."
There were a handful of provocative images, too, as the producers poked about in the private lives of crew members on board. No doubt, many viewers were in awe of a couple of the sailors who stood half-naked on-camera, flexing muscle, and showing off their ubiquitous designer tattoos.
Warts and blemishes were on display, too.
In one dramatic segment, a young woman is called up on charges of alcoholic abuse before Senior Officers; then later, the green recruit is forced to hold back tears, call home, and confide in her father the outcome of the ordeal.
When Howser asked Admiral Branch - Captain of the USS Nimitz at the time the doc was shot - if any directives were issued about taboo subjects, he stated matter-of-fact that there had not been any concerted effort to restrict filmmaker's access or to hold back the truth.
Admirable, Admiral.
Surprisingly, the approach was not "monolithic" in approach either. Neither the Navy nor the filmmakers allegedly set out to give the impression that the Nimitz or the Navy was "one unified body" with all cogs fitting snugly in unison in the grand scheme of things.
In fact, there was a great diversity represented on celluloid (and an honesty) that impacted, bottom line.
I was just about to wrap up my notes when a man in the audience stood and asked an awkward question of the Admiral.
Apparently, in Episode 3 of the series, the issue of a "homosexual" relationship presents itself in the natural daily scheme of things.
The "Top Brass" was asked about the Military stance on the matter in direct relation to the controversial policy, "Don't Ask. Don't Tell".
Admiral Branch was quite emphatic that all the crew members on his ship were sailors first. Then, added, "I don't know how many are gay. Nor do I want to know."
He stressed that the "Don't Ask" policy was the "Law of the Land" - and basically - that was that. As long as the policy was adhered to, "no problem".
However, the producers noted that they felt bad when a couple of the "gay" crew members - in an environment that often allowed for Naval Officers to share with family - were left out in the cold and unable to participate in those moments.
"They weren't discriminated against, necessarily," added the producer. "But, we thought what transpired was unfortunate and sad."
Judging by the reaction of the Admiral, clearly he felt he had been stabbed in the back at this juncture. Ah, the treachery of Hollywood. Maybe there was someone with an agenda lurking about in the shadows somewhere?
Guess we'll have to turn in to Episode 3 to fathom the intrigues of a policy in the military which - to this day - elicits much angst and controversy.
In closing, I should like to point out that I was asked to spread the word that CARRIER will be screened on the Military Network this weekend so overseas forces - in addition to those with access to PBS and KCET in America - have the opportunity to tune in and watch this exciting high-caliber documentary which does justice to its subject matter.
For a virtual tour of the Nimitz: http://www.pbs.org/weta/carrier
Young@Heart...touching hilarious documentary inspires! Old-time choristers a hoot...
"Young@ Heart", a new documentary release will not only touch - but just maybe - bring a tear to your eye.
Soon-to-be released by Fox Searchlight, the novel offering is an up-close behind-the-scenes gander at a chorus of vocalists who tour to sold-out concerts around the Nation and abroad.
What sets 'em apart from other stage performers?
They're mostly an octogenarian bunch, for starters.
Unlike other entertainers pining for fame and glory on Tin Pan Alley, the troupe is a tight-knit band of seniors - ranging in age from 72 and upwards - who crave the exhileration the joy of singing brings!
And, for a topper?
Forget about Bible-thumping hymns and sappy love songs; their repertoire consists of ballsy with-it pop ditties from the musical realms of top 40, rock 'n roll and even punk!
Yes, when the first scenes open, and the choristers belt out a lyric or two from a "Clash" cover, it jars the sensibilities, at first.
But, in moments, the audience is up, and enthralled by the whim of it all.
What a human interest story!
These choristers are darn good, I tell 'ya.
Their success is partly due to their insightful task master (Director Bob Colman) who pushes them to the limits with remarkable heart-warming results.
In fact, a lot of the footage is devoted to the weekly rehearsals - and a rip-roaring insightful zoom in on the engaging seniors - as they try to wrap themselves (and - in a couple of instances - sluggish grey matter) 'round tough tongue twisters and a musical sound that is light years from what they once waltzed to.
But, through the course of the documentary - as the filmgoer roots 'me on from the footlights - you just betcha, they nail 'em..
Some say that Beethoven and Bach - Mozart, too - composed musical compositions to heighten learning capability.
So, what is the attraction here?
"Well, it's good for the lungs," one elderly gent noted with a gleam in his eye.
Notwithstanding, the obvious benefits of the virtual act of vocalizing itself, clearly the rigorous schedules (challenging rehearsals, traveling on the road, gearing up for heart-pounding concert dates) have revved the folks up and - in the process - bestowed a purposeful intent sure to add longevity.
Occasionally, the probing lens of the documentarian focuses on a couple of the individual chorus members; when it does, the results are often hilarious.
One old goat (forgive me for saying it, Sir!) noted that the reason he and his wife stayed together for 54 years was obvious.
"Because we kept romance in our lives. Twice a week we'd go out on Tuesdays and Wednesdays. She on Tuesday, me on Wednesday."
And, in a solemn tone, he underscored that the loving relationship lasted because it was based on faith and trust.
"Her faith in me and my lack of trust in her."
Hee-Haw!
But, there are touching moments in the film as well.
When the chorus performs for a handful of prisoners incarcerated at a local jail, the first up-beat number gets the guys hooting and laughing, and slapping each other on the back with mirth.
But, when the singers note there was a recent death in the group - and dedicate a song (Forever Young) to their lost band member - the mood noticeably changes.
The gang of burly tattooed thugs gets a little sullen, teary-eyed even.
In that one poignant moment it's evident the inmates are inclined to reflect on their plight, ponder mistakes they've possibly made, and wonder how it is that they've come to this way station in life.
The director has also included a couple of promotional clips of video montages which elicit a lot of whoops and hollers from the theatre-goers, too.
To the tune of "Stayin' Alive", a big hulk of a man strides through a bowling alley in a white suit, effecting a hip stylish swagger that John Travolta would be envious of.
Another beautifully-crafted segment - to the endearing strains of David Bowie's - "Golden Years" - is fun, heart-warming, and entertaining.
"Young@Heart" is top notch bill-of-fare bound to appeal to young and old alike.
Catch it, when it arrives at a theatre near you!
CD available online
_________________
Footnote
When I first wrote this review, YOUNG@HEART was not released yet.
I have reposted this article now that "Young" is taking the country by storm.
OJ IS GUILTY...BUT NOT OF MURDER. Wins Best Documentary at Culver City Backlot Film Festival.
Was it all a charade to protect Jason Simpson?
"OJ IS GUILTY...BUT NOT OF MURDER" won the Best Documentary Award at the Backlot Film Festival in Culver City, California, this past week.
When I noticed the "Backlot Film Festival" scheduled the documentary on the shocking murders of Nicole Simpson and Ron Goldman for screening, I was inclined to pass on taking it in, initially.
After all, during the course of the original trial in Los Angeles, I wiled away a number of leisure hours following the legal wranglings in detail. But later, felt ripped off, when a quickie verdict was rendered within a few hours after deliberation began.
Yeah, I thought at the time, "white folks" should take to the streets and riot for a change!
But, by a twist of fate, I ended up at the screening yesterday. And consequently, I came face-to-face with Investigator - William Dear - who has been investigating his theories on the Simpson-Goldman murders for the past fourteen years.
After a brief discussion on some of the semantics, the charismatic investigator noted that actor Charlie Sheen was so intrigued by the suppositions that he was on his way to the Theatre to take the screening in.
A few years ago, I worked on a minor scene in the feature film - "The Boys Next Door" - which was directed by Penelope Spheeris and starred Mr. Sheen. On that occasion, we acknowledged each other from a distance; but basically, we were just two ships that passed in the night.
As he stepped in the door, I was taken by his confidence and the manner in which he carried himself these days. A far cry from his wild bachelor days! After a few perfunctory handshakes, the entourage entered the theatre for the unveiling of the doc.
In passing, I overheard one filmmaker ask, "Is the LA Times here?"
When a staffer said "no", he probed further,
"Did they slip in without you noticing?"
Again, a response in the negative. And, that appeared to be a portent of what was to come.
After the screening of the provocative doc - which was not unlike a TV infomercial in many respects - Dear lamented to the enthused audience, “Where are the media???"
And exasperated, answered his own question, "They're not here!"
That was unfortunate because in his insightful documentary - titled "OJ IS GUILTY...BUT NOT OF MURDER" - Mr. Dear has presented an interesting scenario, supported by evidence he has gathered in his lone investigation over the past decade or so.
In a nutshell...
Mr. Dear alleges that Jason Simpson, OJ's son, was the real killer; then, proceeds to systematically present the evidence in straight-forward convincing manner to support his claims.
For starters, the respected investigator notes that Jason Simpson suffered from a bipolar disorder, and was subject to nasty outbursts and rages. Then, Dear proceeds to establish that just prior to the murders there were a couple of documented incidents of Jason pounding on his girlfriend.
Evidently, Jason stopped taking his medicine - Depakote - which heightened the problem.
At this juncture, Dear takes a foray into the world of an afflicted person and underscores the potential scenarios that may unfold when a bipolar individual neglects to take their medications to curb the illness.
As that bit of evidence settles into the old psyche, he moves on with gusto.
The investigator now focuses on disturbing revelations that pertain to Jason's alibi for the night of the murders. When questioned, the LAPD allegedly stated for the record, that the alibi had been checked and Jason had been summarily written off as a suspect.
However, Dear's investigation proved otherwise.
After a thorough examination of transcripts, and in-depth interviews with key witnesses, it was determined that Jason's alibi had not been verified. Moreover, there were huge holes in it, as well.
For instance, Jason Simpson testified in a deposition in Goldman civil suit, that he was preparing a dinner at Jackson's restaurant (where he was a chef) for 200 people that fateful evening. However, employees verified in on-camera interviews, that - on the contrary - Sunday night was not only slow, but no such dinner party was ever hosted.
In sum, convincing testimony established that Jason's whereabouts - as he recalled them - did not ring true.
Moreover, an inspection of a "time" card at the trendy eatery in Brentwood, raised a specter of doubt as to the veracity of information of its face. So much so, that as Mr. Dear probed further, a silent partner in the restaurant finally admitted on record that Jason's alibi was foisted up as a defense was not the truth.
But what about motivation for the crimes?
The main theory is that Jason became angered when Nicole and the family decided to forgo on stopping by the restaurant that evening for dinner - and that the slight - pushed Jason (prone to rages) over the edge.
Dear theorizes that after taking his girlfriend home around 9:30 p.m., Jason sped over to Bundy and knocked on Nicole's door to confront her about the blatant rejection which rubbed him the wrong way.
OJ's ex - who was expecting Goldman that night - allegedly opened the door and an argument ensued. At some point in an exchange of harsh words, Nicole triggered a nerve in Jason, and he struck her.
At this juncture, Dear contends that Goldman arrived on the scene.
To subdue Nicole, Jason drew a knife out of his boot (which he was known to carry and which was later recovered) and struck a blow to her head. Stunned, she fell to the ground.
Now, Jason turned on Goldman, who became trapped in the small fenced in area near the front door that has been subject of much controversy.
To further the argument that Jason was the true killer, Dear notes that Jason is a more likely suspect for a couple of obvious reasons overlooked by the LAPD.
First, OJ was inclined to get nauseous at the sight of blood; so, Dear asserts that he did not have the "stomach" to commit such a gruesome crime. Further, he stresses that Simpson's weak knees and lack of overall strength in the lower extremities would have made it very difficult for him to overpower Goldman, a young athletic man in his prime.
On the other hand, Jason had studied combat in the Navy and was a capable fighter, who was expert in the handling of knives.
But, hold on.
Curiously, additional evidence was uncovered which is even more compelling.
For instance, Dear was able to purchase a boxful of personal effects which Jason Simpson had placed in storage, which went up for auction when the bill was not paid. In that box there were a number of incriminating items.
In personal handwritten diaries, Jason referred to himself as a "Jekyll & Hyde" personality in one paragraph, then laments in the next that he was currently - "living in the year of the knife."
Astoundingly, a double-edged knife - that experts concede could have been the murder weapon - was found in the box, as well.
"If it doesn't fit, you can't convict"?
The Investigator found photos of Jason wearing a similar hat in the carton of keepsakes.
In sum, Dear concludes that OJ Simpson was not guilty of the murders of Nicole and Ron; but rather, an obstruction of justice - or quite possibly - complicity in the commitment of one.
Bottom line, it would appear that OJ Simpson took the rap for his son; a young man who was mentally unstable and incapable of defending himself for the crimes allegedly committed.
Yes, Mr. Dear has put together a tantalizing theory, supported by evidence that cries out for justice, or at least a second look by Law Enforcement.
But, guess what?
The investigator has been stone-walled in his efforts to have the case re-opened. The LAPD, for instance, won't take a look at his findings. And, despite his pleas, the State Attorney General's office refuses to re-open the case, as well.
Dear's only hope now is that by presenting his "case" - by way of the documentary - a concerned public will become intrigued with the wealth of incriminating evidence and demand that Justice be served.
Do the murders warrant further investigation?
You decide.
Info: http://www.theoverlookedsuspect.com
William C. Dear argues that Jason Simpson is the true killer
Shine a Light...Scorsese doc illuminates surface but falls short!
"Shine a Light" igniting the silver screen in IMAX is a visual experience you may not want to miss - if you're a Rolling Stones fan - in particular.
In the fast-paced documentary, with Oscar-winning Director Martin Scorsese at the helm, a penetrating lens slices through layers of the mystique with razor-sharp precision close to the bone.
But, ultimately, the doc misses its mark.
By the end of the film, Jagger remains as elusive and mysterious as ever.
But don't say Scorsese didn't try.
In an insightful effort to add a bit of depth and breadth to mix, Scorsese handily juxtaposed old news clips, with scintillating stage footage, to great effect.
After all, the mesmerizing image of Jagger - prancing, pouting and sashaying about - is still potent stuff.
By today's standards, though, Jagger pales a tad.
Indeed, a younger generation in a feeding frenzy over titillating sensual MTV images ( and used to slick choreographed numbers by boy-bands and the like) may find Jagger a bit tame.
But, the pop icon still awes.
In what amounts to a tribally-inspired sexually-charged strut - a bold-faced tease, if you like - Jagger still manages to captivate and hold the excited crowd in his thrall.
Years ago, when the celebrated Pop Icon was queried about the phenomenon of his success, Jagger (then, a doey-eyed innocent - on the surface at least - who sported a page-boy cut and fashionable tweed jacket with collar turned up, just so) opined off the cuff:
"I guess, there is a chemical reaction, of sorts."
News reels of yesteryear reveal a surprisingly down-to-earth quality and Jagger's healthy sense of humor.
For example, when Dick Cavett starts to pose a simple question - which ends up being a long-winded, confusing one - Jagger grins, shakes his head, and confesses with a sheepish look on his face.
"I've forgotten the question."
Keith Richards could be remarkably quick on the uptake, too.
When one reporter probed - What question are you asked most?" - without skipping a beat e chuckled "That one" - with a delicious smile on his face.
Given the opportunity, I'd ask Mick about his wardrobe selections.
Are they of his own choosing - conjured up with the assistance of a stylist - I wonder?
In "Shine", he sparkled and made tantalizing fashion statements.
The lead singer for the Stones - the world's "top rock band? - tends to favor elegant button down shirts in lush fabrics (oftentimes, fashioned in blood red) usually highlighted with a stylish panels adorned with sequins running down the front.
On occasion, he squeezed into a black "T" with a spray of glitter across the face - which caught the light - and subsequently dazzled.
In one shot, he looked for all-the-world like an idyllic "Prince of Pop" in a tastefully-tailored Tuxedo jacket - with ubiquitous tails and satin lapels - to boot.
A mainstay?
Black jeans, which fit snugly, and screamed out pure "sex" appeal.
At the beginning of the film, Scorsese often came across as a wise old owl perched on high from afar.
His on-the-ball crew often captured the award-winning director fussing about behind-the-scenes - and occasionally - rabble-rousing with Jagger over an issue or two.
But - when the lights went up and the show began - the camera-work was flawless and carried out to perfection.
The expert cameraman were there to catch each solo riff, or striking vocal that chimed in unexpectedly from across the stage, for instance.
In fact, the reveal was so up-close and personal now and then, that the audience caught sight of Jagger's dental work and perspiration soiling his underarms.
Back off a little, Marty.
While the cinematography was excellent for the most part, the lighting - in contrast - was not very flattering to the boys, at all.
If what they say is true - you get the face you deserve at fifty - then it applies in this instant case.
The mugs of Mick and the boys were haggard and deeply-lined; a roadmap which reflected the downside of their jet-setting, party-hearty lifestyle, eh?
One failing of the documentary?
Scorsese failed to take a foray into their backstage personas; in fact, their seemingly endless days of wine and roses and lusty pursuit of women, is left out in the cold.
Essentially, the doc is a superficial glance at Jagger and the lads.
In sum, "Shine A light" doesn't.
Perhaps, it would be more aptly titled "In Concert".
For this reason, as a whole, the audience doesn't get much satisfaction.
Young@Heart...touching hilarious documentary that inspires! Elderly Choristers wow audiences...
"Young@Heart", a new documentary release will not only touch - but just maybe - bring a tear to your eye.
Soon-to-be released by Fox Searchlight, the novel doc is an up-close behind-the-scenes gander at a chorus of vocalists who tour to sold-out concerts around the Nation and abroad.
What sets 'em apart from other stage performers?
They're mostly an octogenarian bunch, for starters.
Unlike other entertainers pining for fame and glory on Tin Pan Alley, the troupe is a tight-knit band of seniors - ranging in age from 72 and upwards - who crave for the exhileration that the joy of singing delivers up!
And, for a topper?
Forget about Bible-thumping hymns and sappy love songs; their repertoire consists of ballsy with-it pop ditties from the musical realms of top 40, rock 'n roll, and even punk!
Yes, when the first scenes open and the choristers belt out a lyric or two from a "Clash" cover, it jars the sensibilities at first.
But, withiin moments, the audience is revved up and enthralled by the whimsy of it all.
What a human interest story!
They're darn good, I tell 'ya.
Their succes is partly due to their insightful task master who pushes them to the limits with remarkable heart-warming results.
In fact, a lot of the footage is devoted to the weekly rehearsals - and a rip-roaring insightful zoom in on the engaging seniors - as they try to wrap themselves (and - in a couple of instances - sluggish grey matter) 'round tough tongue twisters and a musical sound that is light years from what they once waltzed to.
But, through the course of the documentary - as the filmgoer roots 'em on from the footlights - just betcha they nail 'em.
Some say that Beethoven and Bach - Mozart, too - composed musical compositions to heighten learning capability.
So, what is the attraction here?
"Well, it's good for the lungs," one elderly gent noted with a gleam in his eye.
Notwithstanding the obvious benefits of the virtual act of vocalizing itself - clearly the rigorous schedules (challenging rehearsals, traveling on the road, gearing up for heart-pounding concert dates) have not only reved the folks up - but bestowed a purposeful intent sure to add longevity.
Occasionally, the probing lens of the documentarian focuses on a couple of the individual chorus members; when it does, the results are often hilarious.
One old goat (forgive me for saying it, Sir!) noted that the reason he and his wife stayed together for 54 years was,
"Because we kept romance in our lives. Twice a week we'd go out on Tuesdays and Wednesdays. She on Tuesday, me on Wednesday."
And, in a solemn tone, he underscored that the loving relationship lasted because it was based on faith and trust.
"Her faith in me, and my lack of trust in her."
Hee-Haw!
But, there are touching moments in the film as well.
When the chorus performs for a handful of prisoners incarcerated at a local jail, the first up-beat number gets the guys hooting and laughing, and slapping each other on the back with mirth.
But, when the singers note there was a recent death in the group and dedicate a song (Forever Young)to their lost band member, the mood noticeably changes.
The gang of burly tattooed thugs get a little sullen, teary-eyed even.
In that one poignant moment it's evident the inmates are inclined to reflect on their plight, ponder mistakes they've possibly made, and wonder how it is that they've come to this way-station in life.
The director has also included a couple of promotional clips of video montages which elicit a lot of whoops and hollers from the theatre-goers, too.
To the tune of "Stayin' Alive" a big hulk of a man strides through a bowling alley in a white suit, effecting a hip stylish swagger that John Travolta would be envious of.
Another beautifully crafted segment - warbled to the endearing strains of David Bowie's - "Golden Years" - is fun, heart-warming, and entertaining.
"Young@Heart" is top notch entertainment bound to appeal to young and old alike.
Catch it, when it arrives at a theatre near you!
CD available online!
Documentary-American Beauties
Liz sent this link to TSTB about the award-winning documentary film called American Beauties.The 2005 documentary is a series of interviews with Asian transwomen Amanda, Imani, Kimberly and Kosal. They express themselves on the issues facing them such as discrimination, prostitution, sex reassignment surgery, their former lives, and their dreams for the future.
And here's the YouTube video from that documentary as well:
Part 1
Part 2
Part 3
Part 4
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