Archives for Marvin Brown

Quick Flix Hit

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Cleveland International Film Festival

China Love (2018)

Unrated

Media Stockade

China Love begins by fastidiously documenting the phenomenon of elaborate pre-wedding photography in modern-day China. We’re introduced to dozens of brides-to-be shot in unbelievable gowns surrounded in unbelievable settings. We witness elaborate underwater setups, shots where couples are made to seem like they are floating in air, and every kind of fantasy made real. The film immediately springs to life, aided by bouncing editing, upbeat tempos—I thought of the kinetic energy of box-office smash Crazy Rich Asians.

Soon, through and around its steady stream of beaming brides and dapper grooms, a richer film flows. The contemporary flash is contrasted with 40 years earlier, when marriages were arranged and nondescript. Elderly couples reflect on a time when it was unthinkable to allow such grandiose celebrations of marriage. They don’t speak with outrage, mind you, but of sadness or regret that their weddings lack such … romance? Fantasy?

Directed by Olivia Martin-McGuire, herself a professional photographer, China Love suggests a better understanding of Chinese culture might be gleaned through this look into how fantasies are served through the ritual of elaborate pre-wedding photos. In addition to elder couples reminiscing on a bygone era, Martin-McGuire documents young Shanghai and Beijing couples caught up in the pre-wedding-photo frenzy. Some do it to walk lockstep with this contemporary trend, others because of pressure to honor tradition.

In the documentary we meet Allen Shi, the young entrepreneur who has ridden this industry into the Billionaire Boys Club. It’s an industry that flourishes in China to the tune of $80 billion. Allen has a stable of photographers, clothing makers, makeup artists and set designers who churn out movie-quality pre-wedding photo fantasies. Allen, with his American personal assistant Eric in tow, speaks the usual billionaire bromides of how anyone can have his level of success if they work as hard as he works. Allen, though, is more than an outsized stereotype. He’s come from stark poverty, and despite his humble beginnings, has amassed 7,000 employees and more than 300 studios across seven countries. Eric nods approvingly. Eric had originally planned on living in China for a year. His connection with Allen put him on a five-year trajectory that shows no signs of slowing down. Is it ironic that Eric chases his American Dream by peddling American fantasies in China?

Later, we learn of Allen’s disturbing and exacting standards when he fines employees for the slightest deviations from his formula of “perfect” pre-wedding photos. If a hair is out of place, if skin tone is not just right, if lighting is off, there are financial consequences—up to dismissal. It’s startling to see the nitpicking when very similar photos are place side by side. Big business means tough standards, I guess. But it’s more than financial success; Allen’s reputation is at stake.

We also meet Kim, one of Allen’s senior photographers. The often-giggling Kim is a skilled cameraman on autopilot. He knows his stuff, knows his clients and the market, and—along with the upscale capital provided by Allen’s deep pockets—delivers with precision.

The director’s experiences as a photographer and her apparent love of China inform the film with it astonishing look. Beautiful vistas abound. The Shanghai skyline with its regal, futuristic-looking skyscrapers; the bustling China streets, the corning stores and restaurants, clothesline between apartments, beachfront glory. As her film goes on, Martin-McGuire digs deeper into the material.

Eventually, we get a peek into “marriage markets,” where desperate “aging” women are paired up with potential spouses. In China, unmarried women run the risk of isolation. Men are advised not to become engage without at least owning an apartment. The pressures of matrimony are tremendous. In one sad interlude we see the divorced mother of featured bride Viona. The older woman, Han Pan, regards an elegant photograph of herself in a wedding dress. Han Pan had the photo taken after divorce, as single woman, wanting her keepsake of the fantasy. Late in the documentary, there is an echo of this moment as her now-married daughter Viona laments returning to China from her post-wedding life in Australia because of a lack of job opportunities for her husband. Viona seems to fear becoming her mother.

I can’t say enough about the photography of the film. Despite countless depictions of pre-wedding photos, the film’s look is forever beguiling and never seems redundant. The director (and her subjects) keep coming up with ways to dazzle us with costuming, set design and lighting.

Through it all there’s something more important emerging in the margins of the film. The older couples recall limited resources, and censured speech. The younger couples hardly seem to live in a time of restrictions. Things within their grasp couldn’t be consider before the Cultural Revolution. Yet, now, they can have their imagination’s and heart’s desires—provided they have the financial resources. It’s interesting that even though the older couples mostly admit they didn’t marry for romance and pageantry, the younger couples don’t really seem enveloped in romance either. There’s a sense of securing stature, of relieving pressures placed on them to marry—but no real efforts for the sake of romance.

A marvelous sequence late in the film involves elderly couples having an opportunity to take the pre-wedding photos they were never able to have. Seeing an 80-year-old woman don makeup, a crown and an off-the-shoulder dress is truly moving. The husbands too find themselves in the makeup chair and rendered dapper in nice suits! And in a moment, the importance of the pageantry of putting on elegant dresses and tuxedos transcends all the expensive glamor that has come before it.

China Love is an oddly compelling—and sometimes sad—look at the culture and commodity of marriage frozen in moments of unrelenting photographic beauty.

 

 

| Marvin Brown’s Movie Review Archive

Talking with Director Sanjay Rawal

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RUNNING TOWARD ENLIGHTENMENT

Sanjay Rawal’s documentary on grueling race reflects deeper issues

Sounding as much like a philosopher as a filmmaker, Sanjay Rawal intones that “running reduces you to your feet and your breathing.”  The documentarian is also a book editor, activist and, unsurprisingly, a runner. “Running becomes a deep, meaningful experience,” he says.

Rawal’s latest film project, 3100: Run and Become, is a synthesis of many of his beliefs—spiritual enlightenment, racial diversity, health-consciousness. The film documents the lives and efforts of participants in New York’s Self-Transcendence 3,100 Mile race, the longest certified road race in the world.

CHECK OUT MY REVIEW OF 3100: RUN AND BECOME

 It’s a grueling race: the runners must run 60 miles a day, for as long as 52 days, around a half-mile loop in New York, totaling 3,100 miles. They don’t take up the challenge for bragging rights or trophies. “People do it for the best reasons,” Rawal says. “I wanted to explore it.”

Indeed, in watching Run and Become, we see the race promoted as one that leaves its participants “changed.” One of the documentary’s subjects, Finnish runner Ashprihanal Aalto, states his goal as using the race to become a better person.

It’s not unlike the way Rawal has used his career and geography to become a better person. Growing up in Oakland, Calif., the Indian-American son of a tomato breeder, Rawal was introduced to the agricultural industry. It informed his award-winning 2014 documentary Food Chains. Despite living in Oakland, Rawal has spent the last 20 years in Queens. He has a strong tie to the New York City borough’s multiethnicity.

“Queens exemplifies ‘oneness.’ It is recognized as one of the most diverse places, with 170 languages are spoken here,” he says. “There’s a wide variety of the human spirit.”

A critical documentary that shaped him as a director is 2008’s Pray the Devil Back to Hell. The film features Liberian peace activist Leymah Gbowee, who along with Ellen Johnson Sirleaf and Tawakkul Karman, received the 2011 Nobel Peace Prize for their efforts to improve women’s rights.

“The film showed me that documentaries can have deep impact,” he recalls.

But it was an interest in famed Indian spiritualist and runner Sri Chinmoy that truly inspired Rawal to make the transfer from California to New York. The late Chimney founded the race, in its 20th year at the time of the filming. Chinmoy himself had been a weightlifter and runner. His mind-body philosophical outlook inspired Rawal to tap into his own sense of spirituality, community, health and competitiveness. During his career he’s worked with not only Chinmoy (on a book and a film), but with South African theologian and activist Desmond Tutu. Rawal himself has a background in human rights activism, including women’s issues, where he served on the first men’s committee for V-Day. Rawal was even a semi-competitive runner.

“What was my place in world? I found that through Sri,” he says. “But it wasn’t until this film that I truly focused on physically understanding the human body.” When Rawal met film subject Shaun Martin, a Navajo descendant, “it really began to sink in that running is a prayer,” he says. In the film, Martin’s run across the desert is a spiritual one.

Rawal’s film takes us beyond the city blocks of the race and on a more expansive journey. The documentary—produced by Illumine Group, shot by Sean Kirby and edited by Alex Meillier—invites us to see the Great Good of running as the film reveals its impact across the globe.

In Africa, original tribes ran to hunt, in other words, they ran for their very survival. Bushmen connect hunting and running and spirituality. In Japan, Buddhist monks circle a mountain in search of enlightenment, undertaking a task not unlike the Self-Transcendence runners. Miles and miles of movement and prayer, totaling a seven-year challenge for the monks. On an Arizona reservation, a Navajo descendant undertakes a ceremonial run to his family’s ancestral home 110 miles away. We see a link between running and spiritually as the man prays for strength and guidance before he proceeds.

Despite a strong spiritual subtext beneath the race narrative, Rawal doesn’t see Run and Become as a message film. It’s not the traditional “talking head” interview type of work, he says. “I see it as more of an art film about running.”

 

| Marvin Brown’s Movie Review Archive

Quik Flix Hit

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3100: Run and Become (2018)

Unrated

Illumine Group

We meet Finnish runner Ashprihanal Aalto in his sparse home eating Ramon noodles right out of the pot. The 45-year-old paperboy is soon to compete in New York’s Self-Transcendence 3,100 Mile race, the longest certified road race in the world. As the window for running such marathons is beginning to close for him, Aalto states his goal as using the race to become a better person. Indeed, the race is promoted as one that leaves its participants “changed.”

The man’s idol is famed Indian spiritualist and runner Sri Chinmoy, who saw “no barrier between spirituality and athletics.” The late Chinmoy founded the race, in its 20th year at the time of the filming.

CHECK OUT MY INTERVIEW WITH DIRECTOR SANJAY RAWAL

The participants are an array of accomplished runners from across the global. Aalto himself is a top-ranked runner who set the record at last year’s race. Now, about this race: the runners must run 60 miles a day, for as long as 52 days, around a half-mile loop in New York, totaling 3,100 miles.

We immediately become aware of the small number of competitors, a dozen, surely a sign of how daunting this run must be. What we aren’t aware of is how Run and Become will take us beyond these city blocks, beyond this race and on a more expansive journey.

The documentary dispenses helpful factoids via screen text: volunteers provide food and medical assistance; runners must consume more than 10,000 calories daily; the race course is open from 6 a.m. to midnight each day. Chinmoy’s legacy is on vivid display. His portrait and posters can’t be missed. He’s quoted in voiceover throughout the film. Meditation is encouraged as much as staying hydrated. A volunteer choir along the route sings of “give and take,” “never quitting,” and “being brave.”

The film is essentially a day-by-day diary for some runners and a peek into some of their lives. Running’s presented as more than a hobby for these folks. It’s more of a deep dive within themselves, a meditation. Runners are seeking meaning and connection, it seems. “Pray through your feet, your breath,” they are told.

Director Sanjay Rawal’s film utilizes wonderful camera movement at ground level, sometimes in lockstep with the runners. The summer days in the city’s concrete jungle are brightly captured: trees between the sidewalks, fenced-in basketball courts, caution barricades and parked cars and buses. Later we’ll see equally impressive camerawork (by Sean Kirby) on African plains, in a Japanese temple and mountains and across exquisite Arizona deserts. Michael A. Levine’s music is understated and blends wonderfully with crosscutting between various locales; it puts the film on a grander scale.

Run and Become invites us to see the Great Good of running as the film reveals its impact across the globe.

In Africa, original tribes ran to hunt, in other words, they ran for their very survival. Bushmen connect hunting and running and spirituality. Once hunting is banned in their indigenous lands, it triggers a conflict for their way of life. Now the Bushmen feel forced to rely upon the government for survival. This is a blow not only to a way of life, but to a sense of sovereignty and dignity.

In Japan, Buddhist monks circle a mountain in search of enlightenment, undertaking a task not unlike the Self-Transcendence runners. Miles and miles of movement and prayer, totaling a seven-year challenge for monks like Ajari Mitsunaga. For Mitsunaga, the path was chosen, the hardships accepted and now he hands his wisdom down to others.

On an Arizona Navajo reservation, we learn of how thousands of Native American children were forced to attend government boarding schools. The children were taught America history that was not their own and not allow to speak their native language. A Navajo descendant Shaun Martin undertakes a ceremonial run from the school to his family’s ancestral home 110 miles away. The run honors his father and others who tried to escape the school. Again, we see a link between running and spiritually as Martin prays for strength and guidance before he proceeds.

Our star, Aalto, is a titan in an unassuming package. He looks plain, he speaks and acts plainly. It is running that defines him. He is described by an admirer as a “bird,” “tiny,” but “physically and mentally” the best for such a task. The film offers a brief and sweet moment between Aalto and his sister in which we come to understand the runner’s motivations.

The hazards of Self-Transcendence are real. We are concerned for Austrian cellist Shamita, who is known for pushing herself beyond her limits. Years ago, she barely survived a difficult marathon. Her daughter worries about the Self-Transcendence. Rightfully so. It’s difficult to watch the effects of the run overwhelm her physical—if not mental—capabilities. We see how the run takes its toll on other participants. Too exhausted to eat, physically rundown, emotionally broken. We are impressed by their commitment and concerned about what they’re doing to their bodies and minds. But they seem driven by a purpose higher than physical worries.

A masterful montage sequence links images of Japanese countryside, an African sunset and Martin’s run through the sprawling Arizona desert (drone photography is especially captivating here), while the soundtrack is filled with Shamita’s perfect cello.

A bit of suspense arrives during the final laps of the race as the gap between the top two runners narrows to a single mile. In the end there is no prize money; of course not. No one runs Self-Transcendence for financial rewards.

 

| Marvin Brown’s Movie Review Archive

Talking to Director Anne de Mare

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A FUNDAMENTAL CHANGE BRINGS NEW DOCUMENTARY

2016 Election Inspires Director Anne de Mare to Deepen Film on Voting Protection

Election Protection LLC/Providence Productions

A project begun small and intimate for director Anne de Mare and reshaped by a troubling political climate into a full-fledged feature documentary, has become as timely as the latest headlines about red and blue states, election fraud and voter disenfranchisement.

Capturing the Flag, a Providence Productions featuring tireless voter protection volunteers, was originally intended as a short film, according to de Mare.

CHECK OUT MY REVIEW OF CAPTURING THE FLAG

“The story came to us through the lead character, Laverne Berry,” she says. Indeed Berry, a Brooklyn-based entertainment lawyer and volunteer protection worker, makes for an interesting subject.

Years ago at a polling site, Berry had an epiphany watching a janitor fashion a pushcart and chair into a transportation system for woman who struggled to walk to the polling booth. The experience drove Berry get more involved in volunteering. She also is a producer of the documentary.

“We set out to do a short film, but the tenor of the [2016] election brought things down to the fundamental issues of voting and democracy,” de Mare says. “It feels like something fundamental changed in our nation.”

And so the project was fundamentally changed, expanding to a full-length film, which follows three additional volunteers and encompasses a broader scope in detailing and investigating voter suppression.

“I think when we talk about voter suppression people think of the civil rights era and Jim Crow,” de Mare says. Shameful past efforts to deny a democratic voice to minorities was blatant. “Modern voter suppression is insidious. There are barriers combined with legislation that targets a specific group. People don’t really realize what’s happening.” They are sent to wrong polling places, intimidated because of past legal issues, deluded of their power through gerrymandering.

De Mare adds, “Making this film I learned that the battle that happens at the polls is vital.”

Despite its scope, the film maintains a level of intimacy through its on-the-ground, person-to-person perspective. If we’re given insight into voter suppression methods and historical context of disenfranchisement, the film is mostly concerned with how workaday folks, the power of regular people, make a difference.

Volunteer voter protection worker, Brooklyn-based entertainment lawyer and producer of Capturing the Flag, Laverne Berry. Photo credit: Nelson Walker III

“They care!” de Mare says. “Volunteers lobby for people to vote—to protect everyone’s rights. People have to be involved to decide elections.”

The controversial subject matter of voter suppression might seem an odd choice for a New York-based artist whose previous career involved theatrical works. “People don’t go to the theater anymore,” de Mare says. “They go to see films.” Her debut film, The Homestretch(2014), documented three homeless Chicago teenagers fighting to stay in school. The film, co-directed with Kirsten Kelly, garnered acclaim, including an Emmy.

After watching minority voters not being able to cast ballots and reliving the 2016 election, de Mare was asked how we inspire those who may be ground down by apathy?

“That’s the million-dollar question,” de Mare replies. She cites organizations like Democracy North Carolina that works to register voters as well as get them to the polls. The organization also pushes for legislation.

“I think it’s a model for what we need to look at.”

Looking ahead, de Mare has plans to rework her documentary for educational purposes.

“We’re hoping to create an hour-long ‘cut-down’ for educational use so that the film can be used by people involved in this kind of work.”

Also down the road is a historical film documenting women who worked in munitions factories during World War II, and a co-directing effort (with Kirsten Kelly) that looks at an interesting intersection of domestic violence and law enforcement.

Capturing the Flag has its world premiere at the Full Frame Documentary Film Festival 2018.

 

| Marvin Brown’s Movie Review Archive

Quik Flix Hit

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Capturing the Flag (2018)

Unrated

Volunteer voter protection worker, Brooklyn-based entertainment lawyer and producer of Capturing the Flag, Laverne Berry. Photo credit: Nelson Walker III

New York attorney Laverne Berry, saw something at an election polling site years ago that jolted her from her comfortable contribution of driving people to the polls. When one of her charges had trouble walking, a janitor on site took it upon himself to use a pushcart and chair to get the woman to the polling booth.

“If he could do that on a day when that’s not his job,” Berry determined, “I can take some time off every election to do something.”

In Capturing the Flag, Berry and three other “voter protection volunteers” are documented during the lead-up to and through the 2016 election from their on-the-ground perspective in Fayetteville, North Carolina, polling districts. Director Anne de Mare’s fascinating and sober documentary fights an undercurrent of foregone conclusion, but provides pointed insights into our election system and the soldiers who take up the challenges of making votes count.

CHECK OUT MY INTERVIEW WITH DIRECTOR ANNE DE MARE

De Mare and her cast navigate subject matter that should be important to not simply those still distraught about the results of the 2016 election; setting aside partisanship to fairly critique our voting process should matter to every citizen.

Joining Berry on her quest is volunteer Steven Miller, an attorney and longtime friend. Miller, a white man, and Berry, a black woman, communicate with an ease certainly found in lifelong friends. En route to North Carolina we meet volunteer Claire Wright, an attorney and recent naturalized citizen. This is her first U.S. election and her first visit to North Carolina. Writer Trista Delamere Mitchell eagerly joins the group on the ground.

De Mare, along with animator Sean Donnelly, use visual aids to provide an “election day” sense of urgency to the documentary. A graphic counter along the bottom of the frame tick off months, then days, then hours before election results.

Almost immediately the team runs into an ongoing controversy at an early voting site in Fayetteville. The local NAACP has accused the state board and three county election boards of illegally removing thousands of people from voter rolls. The purge, they say, is primarily affecting voters of color.

Berry laments the inconsistent voting rules and methods from state to state. It makes protecting voter rights “daunting.”

A 2013 Supreme Court decision invalidated Shelby County v. Holder, a provision of the Voter Rights Act of 1965. That 2013 decision limited supervision by the Justice Department over states that had demonstrated relentless efforts to curtail black people from voting. Within weeks of the ruling, several states began establishing new voting restrictions—more stringent photo ID laws, limits on third-party voter registration, limited rights for those with past criminal convictions, shuttering polling locations across states. The very day of the decision, Texas began efforts to redraw boundaries for congressional and state house districts.

We watch as Berry bravely heads alone into the breach—a polling site in an all-white community littered with yard signs for Republican candidates. Yet, she reminds herself that her mission is to insure fair voting, regardless of party affiliation. She is regarded with caution at first, but her eagerness to help, earnestness and time pushes her through resistance. Miller, at different polling site, faces similar challenges from black people.

For a time, then, the film becomes a microcosm of the passions, absurdities and contradictions of the U.S. election system. A young polling judge at a precinct is initially curt and forceful with Miller, who’s assisting folks outside the polling site. The young man regards the older one as an outsider, a troublemaker. But as the day goes on, and both men doggedly undertake their responsibilities, they seem to accept each other’s roles. The strident young judge in fact, is revealed to may have overreacted due to the stresses of heading up a polling site for the first time. In the end, Miller joins him inside the now-closed precinct as polling officials search for an errant ballot.

The team’s journey is intercut with efforts from the local branch of the NAACP, including a press conference by chapter President Rev. Dr. William J. Barber II. Barber and others are pushing back against subtle and blatant attempts to suppress the minority vote.

Amid these early voting machinations, President Obama visits Fayetteville for a rally that for me stood as a contrast to the divisive rallies that have sadly become the norm. When an elderly man wearing a military uniform riles up the crowd with his Trump sign, Obama playfully admonishes the agitated crowd and reminds it that, 1) free speech should be respected in the U.S., 2) veterans deserve our respect, 3) elderly people should be respected as well. He famously concludes: “Don’t boo, vote!”

Meanwhile, foreign-born Wright registers disappointment, having recalled practicing law in post- Apartheid South Africa when that country’s courts looked to U.S. law precedents as a guide to building South Africa’s new constitution. “I thought that the U.S now, after the civil rights movement, was an egalitarian society,” she says. “Living here has made me realize it is not at all.” It is crushing to watch Wright trying to help an African-American woman, having been referred to a third precinct and still not able to cast a ballot, who throws up her hands and says she has to get back to work instead.

I like that de Mare allows her subjects to display their professional and ethical commitment to their tasks, while reminding us that they are also citizens, party affiliates, who care not just about voters but the outcome of the election. Since we already know the fateful outcome of the 2016 race, it’s with some dread (or joy, if Trump was your guy) that we relive the day while Berry and the team face it for the first time: the certainty that the math is in Hillary Clinton’s favor, the surprise that Donald Trump is doing better than predicted, the rising suspicion that the calculus was wrong, that working-class sentiment was misjudged; the shock and disbelief of the results.

We’ve walked with Miller as he remained level-headed and professional throughout the day. Not until the night of election results, when he explodes into anger, confusion and disappointment, do we see the partisan side he’d left off the field while attending to his duties.

De Mare, an award-winning director (The Homestretch, 2014), has taken us back to a fateful moment in U.S. history to allow us to relive it at the ground level and in personal terms. With cases before the courts (including our top court) on issues of gerrymandering, alleged attempts to manipulate the upcoming census, as well as looming critical midterm elections, de Mare’s film couldn’t be timelier.

Capturing the Flag has its world premiere at the Full Frame Documentary Film Festival 2018.

 

| Marvin Brown’s Movie Review Archive

Splatterpunk Nomination

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The Year’s Best Hardcore Horror Vol. 2, which includes my story “The Field,” has been nominated for a Splatterpunk Award. Year’s Best is published by Comet Press and edited by Cheryl Mullenax and Randy Chandler. Purchase the anthology here.

 

Check out the full nomination list here. The winners will be announced during Killercon 2018, held Aug. 24-26 at the Wingate by Wyndham Conference Center in Round Rock, Texas.

Dead Again

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New cover, same terror!

Comet Press has released a new cover for its Year’s Best Hardcore Horror Vol. 2 anthology, which includes my short story “The Field.” The collection is edited by Randy Chandler and Cheryl Mullenax. Click here to purchase.

Quik Flix Hit

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Maynard (2017)

Unrated

Auburn Avenue Films

On the night Barack Obama was elected president of United State of America I remember looking at my sleeping infant daughter while processing my unique place in time where I stood at an exact moment of before and after. The morning before, I awoke in a country in which it was improbable to think the 44th person elected to the highest position in the land could be anything but white and male. The morning after, my daughter and I awoke in a country that would be lead for the next eight years by someone who looked like us.

I thought of this moment as I watched Maynard, a documentary of the first black mayor of a major southern city. The parallel of Maynard Jackson’s and Barack Obama’s moments certainly isn’t lost to history or the filmmakers.

Helmed by editor-turned-director Sam Pollard, Maynard is refreshingly uncluttered, a straight through-line depicting Jackson’s early academic successes; his civil rights linage (his grandfather was famed movement leader John Wesley Dobbs); his foray into law and politics; his rise; his retirement; his comeback and untimely death. To be sure, we get standard archival footage, still photographs, newspaper headlines and talking heads, but the film vibrates with a sense of the era—its roiling racial politics, its music, the clothes.

CHECK OUT MY INTERVIEW WITH DIRECTOR SAM POLLARD

Maynard Holbrook Jackson Jr., tall and broad, uses carefully chosen words, commands audiences with his articulate speeches and forthright assertions. Sound familiar? He graduated from Morehouse Collage at 18 and eventually earned a law degree. Although he was delivered an early election defeat in his run for the U.S. Senate, Jackson dusted himself off and become vice mayor of Atlanta, eventually repositioning himself for a mayoral run. Maynard offers a unique look into southern politics. As vice mayor, Jackson’s run for mayor pit him against incumbent and colleague Sam Massell. It was a bruising affair that ended with Jackson’s election as mayor of Atlanta. That Massell is still alive and Pollard gets him on camera to relitigate the race is astonishing. Some resentment bubbles up right before our eyes.

There’s fantastic footage of a portly Jackson in the ring with Muhammad Ali for a promotional boxing match. News footage and interviews of the Atlanta child murders that rocked Jackson’s second term remain potent. And Jackson’s legacy-burnishing renovation of the Atlanta airport into an international hub truly speaks to his lasting accomplishments.

Of course the path to legend can be littered with sacrifices: a divorce, a seeming disconnect from his only son, health issues and political disillusionment.

The documentary brings in heavyweights to tell the tale—famed mayors Andrew Young and Shirley Franklin, civil rights authorities Jesse Jackson and Al Sharpton, former President Bill Clinton and attorney Vernon Jordan—but it’s the voices of Jackson’s family that wring true intimacy from the proceedings. The Jackson family brought the project to Pollard and is well-represented here. Daughters Elizabeth, Brooke, Valerie and Alexandra, son Maynard III, widow Valerie and former wife Burnella all add layers to Maynard’s portrayal.

Son Maynard III is presented with sad dignity; we infer a boy trying to exist in the shadows of a mythic-like father, and a man who has fought his demons to arrive as a proud survivor. Jackson’s daughters, beautiful each, project strength and intelligence and yet, sweet vulnerability as daddy’s girls. The women who were married to Jackson provide a dignity that elucidates their critical roles in supporting Jackson’s destiny.

When we arrive at the details of Jackson’s final hours, the documentary gains power. The scene in which the news of Maynard’s untimely death reaches each of his family members is masterfully filmed and edited.

In a time of political calculations of what a legacy means and of whether it can be undone by successors, Pollard’s film assuredly reminds us that the true caretakers of a legacy can keep the flame burning.

 

| Marvin Brown’s Movie Review Archive

Down with the Fallen debuts Nov. 7

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My story “Grandfather’s Room” appears in the post-apocalyptic horror anthology, Down with the Fallen, edited by Jordon Greene and available Nov. 7 from Franklin/Kerr Press. Click here to order. To read an excerpt, click here.

Quik Flix Hit

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Video review

Kept Boy (2017)

Unrated

Breaking Glass Pictures

Kept Boy steadily endeared me to its character as it rolled along. The gay romantic comedy is definitely funny, and its breezy pace kept me involved despite my initial reservations with the clichéd characters: the rich, aging sugar daddy; his buff mindless kept man-child; his brash male housekeeper; and the new stud who lobs himself into the mix like a live grenade.

Out now on DVD and VOD, the film, director by George Bamber (a veteran assistant director, moving to the big chair here), won me over despite its expected love triangle; it gets a mighty lift from humor and his actors.

We meet Farleigh (Thure Riefenstein) and Dennis (Jon Paul Phillips) during what must be a routine house party. We sense they’ve been living this way for years: the swimming pool fetes, limitless bottle of wine and champagne, flashy name-dropping guests. The men seem tired, disconnected, and suspicious that something’s changing between them.

Farleigh is the celebrity breadwinner, the aging host of a once-popular home-design reality TV show. In his tailored suits, deliberate speech and accoutrements of importance, Farleigh plays his role of parent/husband/alpha male in a house of flighty men. Dennis is the kept boy of the title, having long been faithful in his role of eye candy companion (his skills are working out and pouring drinks). Not to be forgotten is Javi, the multiple hyphened helpmate who, Dennis learns belatedly, was the previous kept boy. Javi (Deosick Burney) could be the stereotypical funny black guy, but the script gives Java a couple of nice scenes to discuss his role in Farleigh’s life and Burney elevates the character.

How long was this makeshift family going to last? Fading youth and stagnant routine have a way pecking at longtime lovers, doesn’t it? When Farleigh urges Dennis to get a job and announces he’s selling the Porsche (ostensibly Dennis’ car) Dennis draws out of his lover that their halcyon days may be waning. Farleigh’s carrying massive debt and his ratings-challenge TV show appears to be in its final season.

More troubling to Dennis, who’s completely without job skills, is Farleigh’s interest in the younger, handsome Jasper (Greg Audino), Farleigh’s pool boy turned sudden assistant for the TV show.

Farleigh and Jasper seem to flirt in plain sight, which Dennis absorbs with brutal dignity. But Dennis is not without weapons in this battle. He knows Farleigh’s weak spots and can intuit his sugar daddy’s reactions like nobody’s business.

The film grows interesting because Farleigh, Dennis and Jasper are as self-aware of their roles as we are. Farleigh and Dennis each seem to realize what they had for years is coming to an end—or a transition neither wants to face. They’re playing their roles, but also preparing for life without each other. Beefcake Jasper, more calculating than we initially expect, has sincere motivations. The lovers’ triangle is put through its sexual paces; each combination gets a shot at getting busy.

Bamber’s film has a couple of surprises up its sleeve. A getaway island trip—make or break, as far as Dennis is concerned—teeters fascinatingly between slapstick and drama, culminating in abrupt violence and gunplay. A sweet, quiet, honest long-in-the-coming discussion between Farleigh and Dennis ends with a turn that deepens the proceedings. The island drama notwithstanding, much of the film flows by on strong currents of humor, aided by the likability of the characters. Speaking of likable characters, let’s give shout-outs to Dennis’ lonely-hearts kept-mates, Lonnie (John-Michael Carlton) and Paulette (Toni Romano-Cohen): he, hanging on to his rich-widow sourpuss; she, bemoaning her lot as an aging trophy-gal. The trio slurps mixed drinks in various lounges while strategizing—with well-timed, hilarious dialogue—their next moves as the users who have become the used.

Dennis, most importantly, takes on unexpected dimensions from Phillips’ assured performance, and final scenes between he and Javi, then he and Jasper, really feel authentic, taking the film farther away than expected from its opening scenes of debauched cliché.

| Marvin Brown’s Movie Review Archive

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