Great children’s movies attract not just families, but a sizable contingent of sheepish adults with no children, which may help to explain all the rap stars who line up with Ellen DeGeneres to voice-over cartoons. But this new offshoot of M-SPIFF brings a highly intelligent selection of international children’s film to the Twin Cities, demonstrating that the genre can indeed thrive without celebrity voices, garish animation, or fast-food toy tie-ins. Highlights include a spotlight on French animation, centered around a screening of Princes and Princesses at the Children’s Theatre Company, in which CTC actors will create a live soundtrack to the film. www.mnfilmarts.org/m-spiff/2005
Month: March 2005
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Fever Pitch
Hapless Ben (Saturday Night Live alum Jimmy Fallon) is a teacher whose Boston Red Sox obsession consumes his life until he becomes smitten with Lindsay (Drew Barrymore), who couldnÕt care less about the sport. Sounds like your typical romantic comedy, except that it’s based on a novel by Nick Hornby, the Helen Fielding-for-guys who brought us High Fidelity and About a Boy. Also, it’s directed by Bobby and Peter Farrelly (There’s Something About Mary, Dumb and Dumber). Hornby is adept at creating goofy and shambling characters with a stupid side that his readers identify with, while the Farrellys are notorious for making the stupid side of characters the only side you want to see. So Fever Pitch looks well-positioned to become a romantic comedy classic–or at least a romantic baseball comedy classic.
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Kung Fu Hustle
The newest in an increasing number of must-see films from Hong Kong, this extravaganza set in the glamorous and ruthless 1930s is a funny, eye-popping homage to Bruce Lee, Grease, and a thousand special effects. Aspiring gangster Sing longs to join the Axe Gang, which rules the city’s slums and casinos with a commanding combination of wicked martial arts gymnastics, a snazzy sense of fashion, and dazzling dance moves. Sing and his tubby sidekick pretend they are Axe members in order to pull off a minor crime, which only draws the real gang to town to dispense with these fools through a little song and dance.
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Sin City
A film noir for the twenty-first century, this crime drama is based on Frank Miller’s much-loved comic-book series, an elegant, violent, bleak, and sexy chronicle of various seamy underworlds. A grizzled cop (Bruce Willis) has vowed to keep a showgirl (Jessica Alba) alive, while a crook (Mickey Rourke) is out to avenge the death of his lover, Goldie. Benicio Del Toro, Brittany Murphy, Elijah Wood, and Alexis Bledel bring other Miller characters off the page and onto the screen, filling the dancehalls and buying the bullets in a story with as many twists and turns as a pole dancer.
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Eros
When it comes to supergroup films, everything depends on the players. We never were compelled to watch the Allen-Coppola-Scorcese triptych New York Stories, for instance, but we’ll get in line for Eros, a filmic anthology on love from Wong Kar-Wai, Steven Soderbergh, and Michelangelo Antonioni. Kar-Wai’s Hands covers similar terrain as his ravishing In the Mood for Love; here, though, the tragic couple is a call girl and her tailor. It should tide us over until his 2046 is finally released here. Soderbergh’s work has been disappointing of late, but there’s still hope for Equilibrium, a noirish recounting of a therapy session employing the actors Adam Arkin and Robert Downey Jr. As for Antonioni, be forewarned: word is that his contribution is a horrific parody of his own masterpieces from the sixties. Ah, well, it’s hard to sustain genius.
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Kristin Chenoweth
Show tunes just won’t die, and Kristin Chenoweth is partly to blame. Her cartoonishly expressive voice conjures the songbirds of Broadway’s bygone era, both on torchy jazz standards and on girdle-busting numbers from shows like Wicked, Candide, and You’re a Good Man, Charlie Brown (for which she won a Tony). And Chenoweth doesn’t just sing; she’s a West Wing regular and reportedly is working on a film with Steve Martin. She might become her generation’s Bernadette Peters if she doesn’t watch out. This, her second album, veers from traditional jazz to explore a variety of spirituals.
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M. Ward
M. Ward’s melodies are as quietly pervasive as cigarette smoke in a bar (ah, the days of É last month). His voice sneaks through the back door while you’re ordering the cheapest beer on tap, and the next thing you know you’re singing his songs while driving to work the next day. In other words, he’s compelling even when you’re not paying attention. It’s the gritty, percussive guitar that sticks first. The blues riffs next. Then the raspy voice that sounds like its owner needs some NyQuil–until he croons a sweet falsetto. 1601 University Ave., St. Paul; 651-647-0486; www.turfclub.net
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Ben Folds
Not long after his move to the Australian outback in 1999, Ben Folds began laboring over Songs for Silverman. The album features the falsetto peaks and pretty pop piano Folds is renowned for, and we, for one, are happy to report that he has elected not to revive the adolescent wit indulged in his days with the Ben Folds Five. Silverman is an organic, slow-cooking effort, right up your alley if you liked his earlier sugary-sweet ballads like “The Luckiest” and “Brick.” In all, this is an even but romantic album. And if that sounds too grown-up to suit your “Battle of Who Could Care Less” tastes, try the Ben Folds website. There you can download his expletive-heavy Dr. Dre cover.
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The Pictures at an Exhibition Project
Painting begets music begets painting. At least in the case of Russian composer Modest Mussorgsky, whose Pictures at an Exhibition was inspired by a series of work from a contemporary, the nineteenth-century painter Victor Hartmann. Now Mussorgsky’s composition has, in turn, inspired paintings by ten local artists, to be shown in conjunction with the Minnesota OrchestraÕs performance of Pictures. The visual works refer to the composer’s beautifully complex images–the majestic gates of Kiev, the anxious witch, chicks hatching from eggs–and we think Mussorgsky would love them. Orchestra Hall, 1111 Nicollet Mall, Minneapolis; 612-371-5656; www.minnesotaorchestra.org
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to the Editor
Kieran’s Letter of the Month: SETTING THE RECORD STRAIGHT
The Rake rightly deserves enormous credit for advising Bob Dylan in June 1963, “Move away and write your own damn songs,” and for predicting the date of Garrison Keillor’s conception in Anoka [Good Intentions, March]. Concerning mistakes and missteps, you do not seem to recognize that your failure to have Spoonbridge and Cherry moved to the city impound lot was the result of weak analysis and poorly conceived strategy. A stream of liquid issuing from a cherry stem? If you had convinced the arts police to replace it with the kind of appendage from which a stream of liquid might actually issue, then the forces of prudery would have forced the destruction of the whole sorry sculpture. You report that you wish you “hadn’t cooperated in burning that last Minneapolis streetcar.” Do you make this stuff up? Don’t you know that all those streetcars were sold to Mexico City? Last time I was there, they were still rolling merrily along. Finally, you do not mention your failed campaign to persuade Senator Mark Dayton to change his name to Marshall Field. This was perhaps the most consequential failure: Look what has happened to him.
—Frank C. Miller, MinneapolisWAR POETS
I usually enjoy and trust your magazine, so I was surprised to see Oliver Nicholson imply that the Second World War produced no poets of note except for Keith Douglas [Wine, March]. I like Douglas, too, but he’s hardly the only poet who served in that war and wrote well about it. Among American soldier-poets, the most celebrated at the time was Karl Shapiro, who came under fire in the Pacific theater, and whose V-Letter won the Pulitzer Prize; the most celebrated now is likely Randall Jarrell, who considered soldiers, airmen, and the civilians they sometimes bombed in poems such as “Losses,” “Eighth Air Force,” and that hardy perennial, “The Death of the Ball Turret Gunner.” There’s also Richard Wilbur (Army), William Meredith (Navy), and (for West Coast tastes) Robert Duncan. But these are Americans. Nicholson may be British, and may be thinking of British poets alone. How about Alun Lewis? Or Basil Bunting, RAF serviceman (and spy), whose war experience entered his poem “The Spoils”? Or Donald Davie, a Royal Navy man?
—Stephen Burt, St. PaulBOY OH BOY
I burst out in laughs more than once reading Elizabeth Larsen’s “Boy Trouble” [March], but my situation was the opposite. I wanted just boys, no girls. My first child was a boy. Nothin’ else was gonna do and I was ecstatic. When I had a girl, my initial disappointment (I guess more fear actually) was soon replaced with joy. But as much as I tried to raise my son (and daughter) “gender neutral,” there was no denying the “nature vs. nurture” effect. Any object, no matter the shape, size, or color became a weapon of some sort complete with sound effects. (Daughter was very twirly, dancy-prancy—again, nature.) This same boy at age two wanted a doll, a specific boy-doll made for boys, but his father put his foot down thinking it was sissy. I thought it would be sweet. My son was a roughhousing, sports-loving, dirty, torture-the-little-sister, laugh at any gross-out fart-burp, etc. as any boy (or should I just say male?) can be. However, he has also grown up to be a very sensitive, compassionate young man who still thinks I walk on water (ahhh, the wonderful unconditional love of a son), who burned a CD of songs he knew I loved and had special memories attached to each one, bought a bracelet for his sister when he went to Mexico on break, absolutely loves babies and little kids, and votes Democrat. Even though he is now a beer-swilling college freshman, he still sleeps with his blankie (sorry, kiddo, couldn’t resist telling that). Having come into adulthood in the seventies, I consider myself a progressive, fairly feminist and humanist person. No matter what the gender and the inherent nature of that gender, the environment—emotional, spiritual, intellectual—they are exposed to is what truly shapes that person. Enjoy your boys!
—Deb Casserly, St. Louis ParkEYE-OPENER
Bravo to Elizabeth Larsen [“Boy Trouble,” March]. The article brought a new dimension to my understanding of feminists and the feminist movement. I am a red-state conservative Republican who found Larsen’s willingness to share her views and experiences with feminism as it relates to raising a boy to be refreshing and honest. Specifically, her willingness to challenge her previous beliefs on feminism has caused me to reflect on my stances towards feminism and its value in today’s society. Her article has also opened my eyes concerning my own daughter and the upbringing that my wife and I are trying to provide. I have always felt my daughter should have every opportunity in the world to do what she wants without societal restraints based on gender, but now also realize that our two boys have that choice as well.
—Chad Frost, Prior Lakecombat credit While it may be true that Emily Dickinson was a better war poet than Rupert Brooke, it’s not quite fair to say he never heard a shot fired in anger. While his combat experience was limited to the evacuation of Antwerp early in the war, he did see some combat. Sorry for the nitpicking, but that’s what I do best.
—Jeff Cawhorn, MinneapolisOVERDUE APPRECIATION
Regarding “Who Needs All These Books Anyway?” [February]: Not long ago I asked my dad, who grew up in Minneapolis during the Depression, if he ever remembered a time when the city closed the public libraries or cut back their hours. He told me he couldn’t recall such a time, and this was during the greatest “budget crises” in our country’s history. My feeling is that the current crisis has nothing to do with budgets. It’s really a spiritual crisis, a shift in our values from the communal to the “private.” Anything with the word “public” or “social” in it is now under attack, to be replaced by an illusion of privacy and go-it-alone individualism. The New Deal values of cooperation, civic pride, and a communal sense of joint venture are succumbing to competition, distrust, and open warfare amongst fellow citizens. Public libraries were a refuge to me as a child. They were the one place, besides nature, where I could find some respite from the often brutal, competitive world of school and jobs. Librarians were usually kind and helpful to me. They never graded or fired me, just asked that I be considerate of others. Public libraries are the foundation of any decent society that cares about its children. More than mere warehouses of knowledge, they represent the human yearning to grow and learn throughout a lifetime, long after formal education has ended. An attack upon them is an attack upon the future and the common good.
—Kurt Seaberg, Minneapolis