The finish line is in sight, but there are a couple of spots for which we
need to make final decisions. Hopefully, the accompanying list does not have
any major surprises. I would like your input for the final two slots.
After contacting Barbara Merson of the MJFF I did come up with a handful of
films for us to consider including in our series. There seemed to be a
mutually beneficial relationship that developed last year with our
opportunity to show "1945" and a bump in the attendance of last year's MJFF
satellite screenings in Waterville. Unfortunately, we have not had a lot of
opportunity to discuss those films. Perhaps unfairly, I assumed that the
IMDb rating numbers and the status of being a Foreign-language Oscar
submission would make "THE WALDHEIM WALTZ" and "THE INTERPRETER" our best
options from that group of films and that everyone else on the team would
reach the same conclusion.
Bob-citing a comment by Abbott-quite explicitly challenged that
thinking. The revelation that the former UN Secretary-General Kurt Waldheim
had a history of involvement in the Nazi war effort while pursuing
high political office in Austria certainly does serve to remind us of
current politics. Do we-and by extension our potential audience-need
or want that reminder? Possibly not-at least, that seemed to be Bob and
Abbott's thinking. While the film no doubt offers a lot of
granular details about the Nazi-Waldheim connection and the ensuing
controversy when it was exposed, this is not a story with which "the usual
suspects" in our audience would be unfamiliar. Waldheim had been a
world figure and this controversy was covered quite extensively by American
news media during the 1980's.
We have two films "THE INTERPRETER" (Slovakia) and "THE LAST
SUIT" (Argentina) that are basically road trips. Both have some picaresque
qualities to leaven the tragedy of men revisiting the horror and loss
that they experienced as victims of the Holocaust-"INTERPRETER" having a
surviving son looking for closure on the victimhood of his parents
and "THE LAST SUIT" being a valedictory pilgrimage by an old man to fulfill
a promise to someone who helped him survive the Holocaust. Reviews of
both of these films have generally been favorable, but not without some
criticism.
"BUDAPEST NOIR" is a bit different in that it takes place before
the war. As noted there has been criticism of the film for its embrace of
the film noir genre. While last year's "1945" was set immediately
post-war in a rural village, "BUDAPEST NOIR" takes place in a bustling urban
setting with a seamy underbelly. I read all the critic and user
reviews cited on the IMDb webpage. While there were some issues raised by
the critics, there were almost always nuggets of lavish praise (music,
performances, the recreation of the 1930's period, etc.) there as well. The
user reviews were quite favorable. The war and the holocaust are certainly
foreshadowed, but perhaps not necessarily the center of the action. I
know some of you have mentioned this as your personal choice, but I'm much
more on board with this as perhaps our option.
Were you wondering where "KLEZMER" went? I read the four reviews
cited on the film's IMDb webpage. While there seemed to be a recognition
that it represented an effort to contribute to the Polish reaction to the
holocaust, the film seemed to be found wanting and be disappointing. Barbara
Merson in discussing it with me labeled it as "grim."
So what film would you like us to present in the fifth slot on
3/2-3/19?
For the final and sixth slot (3/16-17/19) I offer a choice between "ICEMAN,"
the doc "THE SEARCH FOR INGMAR BERGMAN," and the Jafar Panahi film "3
FACES." This e-mail is probably long enough without revisiting everything
presented in prior e-mails. Personally, I like "ICEMAN," but there are cases
to be made for each of the others. Perhaps ranked choice might be an option
here. My choices: 1. "ICEMAN" 2. "SEARCHING FOR INGMAR BERGMAN" 3. "3
FACES". Anyways, I hope we can have some clarity on this by the end of the
weekend.
Abbott did present a couple of older French films as possibilities in a
recent e-mail. I'm a little bit leery about having more than one older
classic film in our series for reasons I have previously stated. I'm
especially leery about putting something into consideration this late in the
process which has not previously been presented or discussed. Abbott, I hope
you will keep these films in your mind for next year. I (and I hope everyone
else) will try to do that as well.
Joel
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