The Santa Barbara International Film Festival always succeeds as a destination of wills. As a specific stop on the Oscar campaign trail, its star possibilities are rarely matched in terms of tributes except by the heavyweights. What it shares with its sister Riviera: Cannes, is an increasing propensity for selecting great films and making them viewable without sacrificing the art of parties and networking. It is a hard balance to maintain especially in a trying economy but the bar remains high.
Opening Night The film that began the progression, “Flying Lessons” was shot in the Sante Ynez Valley just a short drive away from Santa Barbara. While the dramatic elements have their pertinence, the story of a girl who cannot find herself except by the will of her sex has been done before. The true reflection of the film is Hal Halbrook who plays an older man suffering from memory loss who becomes a ward of sorts to the young woman. Halbrook plays his role with heartwrenching sincerity which elevates the material slightly but is continually is not worthy of his talents. Christine Lahti and Cary Elwes plays parental visages of sorts but never really move the story. Maggie Grace (Shannon from ”Lost”) plays the girl in question with a detached knowing but it never truly feels real because she is always affecting it against her nature. The picture also doesn’t necessarily highlight the area with many distinct possibilities of vistas lost within the efforts of the production crew.
The After Party at Paseo Nuevo highlighted, as with most Opening Nights, the local vendors from a tantalizing tortilla bisque to steak tacos implementing that Mexican influence of cuisine in the area. At the VIP tent atop looking over the crowd below as a rock band played everything from Journey to Bob Seger, the brew of an invigorating Stella and a brisk Cohiba spoke to the night.
Films #1 The first sequence of material is marked by an intention of need specifically in the fact that there is a marketed distribution of differences in genres and the like.
“Reverse” is a piece from Poland that is a reflective of a Polanski psychological thriller but from a distinctive Eastern European standpoint. The film follows a country still under the grips of Communism before the death of Stalin. What starts out as a love story with very distinctive overtones becomes a exercise in family honor and coverage. The latter half of the film, specifically during a sequence when party members come to their house drunk as they are taking care of some nasty business, is particularly effective. The acting especially from a nefarious suitor who turns badly give the film its sense of balance and impropriety that allows the viewer into a world that alternately alien but also vaguely familiar.
“A Murder Of Crows” is a film more specifically akin to something on the Science or History Channels but gives a view what it is was like before we had those outlays and the proliferation of cable television. It takes a very fascinating psychological approach to the way that crows process information mentally. The sociological view taken tends to show how similar in many ways, specifically familial and the like, we are to crows. One of the most intriguing points of the film is indeed how scientists at an island off the coast of New Zealand actually show the physical evidence that the crows are able to make tools and use them which is something only the human race has been known to do. While the film is heavily and uses alot of composite perspective, its insistence comes through across the board.
“Ballad” brings to the first in the festival how great of an Asian presentation of cinema that it has shown over the years. The “East Vs. West” section is always truly great in its aspects of showing premieres that many times are never seen on the big screen. Seeing “Vexille” two years ago here was one of the only opportunities to see it on the big screen outside Locarno in Switzerland. “Ballad” takes a basic premise and asks you to suspend your disbelief but, if you are able to maintain this perspective, it is actually quite fulfilling at least within an entertainment basis. The gist of the story is that a kid and his family are brought back in time to help in a battle between two great Japanese samurai-filled houses. There is no explanation as to how this is all done but ultimately the key in creating the humor and chemistry in the story h is done by parallel plot integration using modern day romance as a perspective for how the sexes interacted in the fuedal days. What makes it work is that the samurai at the heart of the story is both normal and exceptional in terms of a fuedal way of thinking and yet a connection to modern man. His enjoyment of beer shows an inherent sense of the funny that is not seen at many times within a foreign film of this type.
Modern Master: James Cameron With the irretefutabkle truth that James Cameron’s movies can still cross all boundaries, “Avatar” continues to perform exceptionally within the structure.
While on the red carpet, his propensity is that no deals are in place for the continuation of the story but Cameron’s relaxation seems to be in respect while accompanied by his wife Suzy Amis who was one of the actresses in the film “Titanic”. His interrelation of the importance of education echoes as he makes reference to his wife’s outreach in terms of philanthropy. He even went as far to teach a little bit of Nav’vi showiing his undeniably immersion in that world. He had been asked a year prior to receive an award at the festival before the success of “Avatar” which has only increased his stature.
As a resident of Santa Barbara with his second home located here in addition to his one in Malibu, he says that it is important to be involved in the community like this. As Leonard Maltin welcomed him onstage, Cameron proceeded with his acceptance speech onstage at the beginning which is against the norm but we went with it. His perspective is that since he did his “King Of The World” speech at the Oscars more than ten years ago he has been trying to play it down. The funny thing was he didn’t know he was supposed to be doing this at the end. The unbalance was not his fault as after they had shown two short clips of “Aliens” and “T2″ which was actually out of sequence, Arnold Schwarzenegger (who we heard quietly was going to come in to give the award) emerged on stage which Cameron seemed genuinely surprised by. It was great to see Arnold in a more Hollywood flavor instead of The Governator. He realized the problems of the deficit but you saw the essentials of his charm especially when he uttered the line “cybernetic organism”. Some lady screamed from the crowd “I’ll be back” but they had already turned off his mike but to those closest enough, they heard it.
Onstage, the continuation of the discussion of Cameron’s films played through specifically with the beginnings of working with Roger Corman who really gave him his start doing model work on “Battle Beyond The Stars”. From there the whole element of the myth of “Piranha 2″ came about which people say was Cameron’s first film. He recollects that he had the job for two days and he was actually the second unit director. He simply had ended up doing alot of stuff with first unit crew. The production as alot of foreign financed pictures in that time were had a rather cloudy financial structure with the film being shot in Jamiaca. He relates that he was off it two days later.
While the Arnold intervention supplemented a couple of films, Cameron spoke about “Aliens” and the infamous ending scene. The thing he said was that lot of the Queen performance was puppets which most people thought were fully visual effects but he and Stan Winston wanted to do everything as practical as they could. He also point out that when Newt grabs on to Bishop before they are almost sucked out of the Marine ship, you can actually see most of Lance Hendricksen’s body in a black cover suit but because your emotion is focused somewhere else in the scene, you don’t notice it. Cameron says that he first saw that flub when the film premiered but nobody noticed it.
While “Avatar” and “Titanic” are of note, in all intentions, Cameron admits to the team element because it created a necessity but on such big productions their needs to be something personal. The line “I’m The King Of The World” that Leonardo DiCaprio screams off the top of the ship in “Titanic” was an ad lib that Cameron told him to say after they tried a lot of different possibilities. Cameron was sweeping over the partially constructed bow on a crane. The artifice with him is trying to make it real. This is where alot of his research into underwater wrecks gives his work new pertinence. His perception is that he can never create something as miraculous as some of the creatures he saw on the ocean floor…but he will sure try.
The VIP Afterparty for Cameron held at the small and intimate Cafe Luck, showed the interactability of Cameron even at this level with the biggest movie ever made to top the other one he made 10 years ago. Perhaps seen as a bit overwhelming as many have said on set, the man is very interactive in these situation talking with alot of the same enthusiasm as Tarantino but without some of the bandstanding.
Films #2 The second pantheon of films showed a dexterity of story from both a simplistic and complicated standpoint.
“Exam” is a British film that feels undeniably American. It is a vigilance of story which makes it very universal while still engaging. Like “The Killing Room” at Sundance 2009 which was also overlooked by major distributors, “Exam” has the possibility of a “Saw” franchise to reinvent itself on every movie simply in the way it is cast. The story here revolves around eight people being placed inside a room for a final interview exam for a major corporation. As with many places, the key is to test psychological propensity as well as intelligence. The different segueways that the story takes in terms of personal motivations make the idea move, especially when the aspect of a plague from the outside world makes itself glaringly familiar as a circular plot progression. The cool angle is that it doesn’t feel placed. The resolution at the end pushes some of the believability but without the sense of dread that made something like “The Killing Room” so chilling. Despite this, “Exam” works its strengths exceptionally well in a taught and compelling way.
“Zero” is another Polish entry in the increasingly strong “Eastern Bloc” section. Its strength lies in its ability to multi-task its characters without losing a true sense of the progression. The story itself is not as important as the journey of lives it takes to get there. In many angles, it is very similar to something like “Crash” where no one story is more important that another in the overall scheme of things. The acting is for the most part good but it is the high production standard like the original potential of “Run Lola Run” that makes it stand out showing the possibilities while not taking its eye off of the details.
“Katalin Varga”, a drama from Romania, takes on a bit of the dread of the inevitable that characterized the films of Lars Von Trier (like “Dancer In The Dark” or “Manderlay”) but without the musical stylings. As another entrant in the “Eastern Bloc” section, its journey is that of a woman whose secret torment which is not of her own doing settles her into a path of destruction. She is forced to leave her husband after a shame is revealed only to go after the men who hurt her with her young innocent son in tow. Some of the shots, specifically an American Gothic visage from behind as she and her son as sitting on a horse drawn cart, are particularly affecting especially as the movie tumbles towards its end. Life is not balanced and fair in its predilections as this film suggests but within the structure of a society still coming to terms with its indentity, the inflection is clear.
“When You’re Strange”, a documentary optimizing Doors’ footage that has never been seen publicly including a road movie called “Highway” which Jim Morrison and his film school cronies made after graduation as the rock band was just coming up, is a treasure trove of possibilities. More of a travelogue than a documentary in most respects, it captures a personal side to The Doors that at times was missing from the overwrought personifications that people have placed on the band. Being aired on “American Masters” this year on PBS, the concert feeling of the film is very effective though in a theater it seems to take on a bigger weight. The recreation through footage of the infamous Miami concert where Morrison allegedly exposed himself is taken from a point of view of forensics, almost giving it a raw feel. However it was some footage of a European Festival they played after recording the “LA Woman” album that shows that period of life before Morrison faded away. Some of the last pictures of him in Paris with Pam are exceptionally poignant because they seemed to show a man coming back from the brink but the damage had already been done.
Directors Panel Speaking of Tarantino, the undisputable film geek of lore made his way up for a short day of permeating his energy onto the American Riviera, After receiving the Kirk Douglas Award for Excellence here in Santa Barbara late last year, he returned to populate a panel that was the most diversified in years. James Cameron and his ex-wife and Oscar competitor Kathryn Bigelow sat together next to each other which was an interesting dichotomy to see. One of the most distinctive questions asked in the Q&A was the similarities between Bigelow’s “Strange Days” (which Cameron produced) and “Avatar”. Cameron, after thinking about it agreed with some of the similarities but debated in their different contexts. Cameron was diplomatic nonetheless. Todd Phillips, director of the comedy hit “The Hangover” played much more to the laughter element saying that he likes to be stoned when he is directing. By comparison, Pete Docter who directed “Up” was just impressed to be on the stage while Lee Daniels of “Precious” brought his signature sarcasm in texture to the table. Tarantino not be outdone talked about his retirement where he would sit back and write books after he reaches 60 and watch movies at the New Beverly Cinema which he recently took ownership of in Los Angeles.
Quentin & Kirk: Posse Minutes after the conclusion of the Director’s Panel, this 1975 western directed by and starring Kirk Douglas took the screen. Quentin Tarantino had wanted to show a film of Kirk’s and do a Q&A after they had met at the Award Ceremony here in Santa Barbara back in October. Quentin is a fan boy as evidenced by anybody who has met him. At the Critic’s Choice Movie Awards in Los Angeles (the same show where the infamous lip lock between Meryl Streep and Sandra Bullock occurred), this reporter (and BCFA member) witnessed Tarantino running over to Jim Cameron’s table at the first commercial break to talk the director, literally kneeling in front of him on one knee to talk to him. It is this aspect that is so cool about Quentin. Here with Kirk, it is the same thing, “Posse”, the film Quentin selected to screen, has a definitive modern sweep within the texture of a Western. Kirk here was able to cross many genres. Halfway through the movie, one could notice Kirk being ushered into his seat where he watched half of his old movie. This is always interesting in context because one wonders what they see, especially after some time has passed. Kirk plays a marshall running for a Senate seat who tracks down a mercenary who turns the tables on him. The movie, Quentin explains, can be seen as an undeniable reflection of Watergate. When he sat down on stage with Kirk for a short Q&A, Kirk gave him a little bit of flack of why he picked this one of all his movies. Kirk wanted instead to talk about “Inglorious Basterds” saying that he could have played the Christoph Waltz part which is an interesting statement. Quentin played the role of reverent student even when Kirk asked him to make sure to put him in his next film because he (Kirk) as the man himself put it is “the original basterd”.
Parties The parties which this film festival has been known for have been compacted in recent years with a degree of fun still instilling the festivities with aplomb. The after party for Sandra Bullock’s American Riviera Award chilled at the Marmalade Cafe with an effusive artichoke dip and ahi tuna salad that filled with distinctness before the musical vibrations consumed the celebration with the popping of Stella bottles rattling into the night. The Providence reception at the Wine Bistro offered a small and intimate progression with Chardonnay ruling the roost as talk of Cannes began to swirl. The Quebec Party, in view of the Lobero, celebrated the Canadian possibility with talk of “The Wild Hunt” permeating among the guests as vodka lined the walls. The Virtuousos VIP Party held at the Canary Hotel post-Super Bowl embraced the late night with a White Russian providing the brisk as cheese soaked bread, pretzels and the continuum of accents ruled past the witching hour.
Films #3 These last films show the inevitability of interpersonal relationships from a purely male standpoint from different sociological perspectives.
“Private Eye”, from South Korea, uses its humor and a twisted story to the most of its avail. Again it creates an original story in an established genre but with a vitality that makes it jump off the screen despite any cultural differences. Here, a private eye, formerly from the police force, is taking small jobs exposing cheating wives and the such so he can book passage on a ship to America. After the son of a top imperial minister shows up dead, a doctor through weird happenstance asks for the PI’s help to clear his name despite a lack of any wrongdoing except ambition. Their adventures eventually take them to a circus where they uncover the plot of a serial killer. As necessary, the humor keeps the darker elements in check eventually setting the story up for a sequel. Hollywood can learn a bit for South Korea’s example as their original continues to sing but allows for a variation of its progression.
“Fathers & Guns”, from Canada, follows a more traditional path with the bumbling aspect of two undercover cops placed in a sting operation which is disguised as a reality show where father and sons must work out their problems through aspects of therapy and trust building exercises. Everything is placed for heightened comic effect until the guns start blazing and the moves come in barrages. The great essence of the nuttiness is the wretching moments of therapy which the actors mine for all it is worth.
“Ten Stories Tall”, an American independent, using the impending improbability of finding love and happiness in the Big Apple works on the assertion that there is someone for everyone though the timing might not be right. The ideas of mortality and people’s wishes are examined and re-examined but in a more vague way than say the biting sarcasm of Woody Allen or even the light touch of Ed Burns. The true standout of the piece is the unconventional looking actress named Jennifer Regan who brings an inherent heart to the proceedings both because of her wistfulness but also her demeanor and softness. The ready of the story structure is stymied in a need to make events more important than they actually are but she stands away from its shortcomings. The truism is in letting people exist as they will.
“The Wild Hunt”, also from Canada, takes a more diabolical approach to this kind of relationship drama, placing it on the back set of a Medieval Re-Inactment. What starts off a purely almost innocent revival of past times turns into something more real than deniable as a young man tries to win back his girlfriend within the rules of this game, which he doesn’t want to play. His brother is a legend in the circle but has never gripped a taste of his full meddle. The success of the film lies in its ability to create this perfectly plausible world and then pull the rug out from undeneath you. The ending in its brutality and honesty is so jarring that it makes you look twice which marks the ability of a good director. While the film itself would suffer from this non- commercial ending, it shows this filmmaker’s power in a world when it is hard to knife into an audience who has seen everything. Movies need to be on the mind and walking the line then ripping it apart is an undeniable talent.
The great thing about the Santa Barbara International Film Festival aside from its calvacade of stars leading into the Oscar race is its continually inventive programming. For years, the “East Vs. West” section has been unlike any other program seen overall at one of the more boutigue festivals. However with the strong presence of 4 exceptional films in the “Eastern Bloc” section, the absolute power of the films is undeniable and scheduled in a way that you can do all. The only downside being that because of the far away locations of these films, many of the filmmakers are unable to attend, even with a US premiere. Nonetheless, with that said, Santa Barbara above all is a place to watch film. From someone who goes to many festivals and sometimes cannot find three films to see, the aspect of 11 interesting films over a 7 day period is exceptional.
Tags: Ballad, Cafe Luck, East x West, Eastern Bloc, Exam, Feature, film festival, inside reel, Jennifer Regan, Jim Cameron, Katalin Varga, Kirk Douglas, Lobero, Marmalade Cafe, Modern Master, Murder Of Crows, Opening Night, Parties, Paseo Nuevo, Posse, Private Eye, Quentin Tarantino, Reverse, Santa Barbara International Film Festival, South Korea, Ten Stories Tall, The Wild Hunt, tim wassberg, When You're Strange, Wine Bistro, Zero
