Oscar Shorts are Back: Documentaries

Here are the five short documentary nominees for Oscars this year. Altogether they are a nice mix, all different, yet interesting on their own considerable merits. A jumbo bowl of popcorn is needed here.

Nǎi Nai and Wài Pó (US) – These two irrepressible Chinese women are the grandmothers of filmmaker Sean Wang. There’s not a lot of story here, but seeing these two women in action, staying active, minds sharp, sense of humor intact, is a treat. Wài Pó is in her mid-eighties and says she feels like she’s twenty; Nǎi Nai is in her mid-nineties and says she feels like she’s a hundred. They are not related by blood, but by the marriage of their children and live together, keeping each other very much on their toes (trailer).

The ABCs of Book Banning (US) – There’s no question about where director Sheil Nevins stands on this issue, but her team taken the interesting tack of asking kids themselves (an astonishingly articulate group of Florida readers, mostly ages 9-11) what they think. Quotes are included from some of the more than 2000 books removed from school shelves and, while they may not represent the content the banners were objecting to, they certainly suggest the book’s message. It’s obvious the children don’t understand these efforts to deny them knowledge. In the words of one of the children. “Why?” Oh, and their biggest champion? A 101-year-old woman! (trailer).

Island in Between (Taiwan) – Director S. Leo Chiang has created a troubled poem about Taiwan, its future, and, in particular, the Taiwanese islands of Kin Men (Quemoy), perilously close to the Chinese mainland, which of course claims Taiwan is one of its provinces. His three passports—US, Taiwanese, and special permit for Kinmen—symbolize how torn he is about where he actually fits (stream).

The Barber of Little Rock (US) – John Hoffman and Christine Turner follow Arlo Washington on his rounds in the Arkansas capitol. He is a barber, he runs a barber school (which has trained more than a thousand mostly young men, mostly Black for what can become a solid career. Troubled by the wealth gap between Little Rock’s Black and white communities and the difficulties Blacks have obtaining loans to start businesses, and so on, he started a nonprofit community bank. Note that 95 percent of the recipients of his loans have repaid them (stream).

The Last Repair Shop (US) – This is the real “feel-good” documentary of the bunch. The Los Angeles Unified School District still maintains its program of giving musical instruments to students who want to participate in band or orchestra programs. These old instruments have been through many hands and keys stick, wood cracks, welds break. Four people (one each for stringed instruments, brass instruments, woodwinds, and pianos) repair and tune the instruments so that no child is denied the joy of making music. These four people themselves have fascinating and difficult histories so that, at a very personal level, they recognize how important these instruments are, a pathway to fitting in (stream).

Oscar Shorts Are Back: Live Action

Academy Award, Oscar

Oscar Shorts are Back!

This year’s nominees for best live action shorts are playing in theaters. This year’s nominees seemed to trend a little longer than usual overall Only one was under 20 minutes, and the longest was 37 minutes (total, 2.5 hours). I’ll write about the Oscar-nominated short documentaries tomorrow. 

Invincible (US) – directed by Vincent Rene-Lortie. Based on a true story of a 14-year-old boy whose behavior problems have separated him from a loving family. The staff of the facility where he lives is trying to work with him, but neither they nor his family influences the choices he makes (trailer).

Knight of Fortune (Denmark) – directed by Lasse Lyskjaer Noer, Knight of Fortune tells how, Karl (played by Leif Andrée), in a visit to the morgue to view the body of his long-time wife, finds he cannot bring himself to open her coffin. An unlikely alliance between Karl and another widower, Torben (Jens Jørn Spottag), helps him face her death. Though the overall tone is bittersweet, there are darkly humorous moments and a strong sense of shared humanity (trailer).

Red, White and Blue (US) – directed by Nazrin Choudhury. A positive pregnancy test forces a single mother of two (played by Brittany Snow), working as a waitress and living paycheck-to-paycheck to make difficult decisions, as she and her ten-year-old daughter go on a road trip across several states in search of an abortion (trailer).

The After (UK) – Misan Harriman directed. Acclaimed British actor David Oyelowo plays a London man who must try to rebuild his life after a devastating street assault. Taking a job as a taxi driver, he meets all sorts, but cannot outrun his trauma (trailer).

The Wonderful Story of Henry Sugar (UK/US) – Wes Anderson’s version of the Roald Dahl short story about a wealthy Englishman (Benedict Cumberbatch) who learns a Guru’s way “to see without his eyes,” so that he can cheat at blackjack. Also in the cast: Ralph Fiennes, Dev Patel, Ben Kingsley, and Richard Ayoade. With its big-budget production values and stellar cast, it’s quite an oddball (as is anything Wes Anderson produces) in this collection, which is more typically where up-and-coming filmmakers with limited budgets cut their teeth (trailer).

Our local moviehouse shows the shorts on three nights (live action, animated, documentary). See the schedule for your area, and get tickets from Shorts TV here. Some may be available on YouTube too.

The Scarlet Letter

Two River Theater in Red Bank, New Jersey, brings to thrilling life the world premiere of Kate Hamill’s adaptation of The Scarlet Letter, directed by Shelley Butler, from February 9’s opening night through February 25th. In the hands of Hamill, Butler, and a superb cast, Nathaniel Hawthorne’s poignant story moves along with both speed and passion.

Hamill has made something of a cottage industry out of adapting classic works, becoming one of the country’s most-produced playwrights. While Hester Prynne has numerous feminist fans, and while Hester’s story set almost 400 years ago reverberates loudly today, Hamill has not written a polemic. Instead, her Scarlet Letter is a story of love and revenge, almost equally thwarted.

Hester Prynne (played by Amelia Pedlow), a member of the Puritan Massachusetts Bay Colony, is a presumed widow, her husband lost at sea for some two years. When she becomes pregnant, she’s accused of adultery, whipped, and must wear a scarlet A, always. Despite efforts to humiliate her, she remains a dignified, affectionate mother.

Resplendent and full of his authority, Governor Hibble (Triney Sandoval) cannot persuade Hester to say who baby Pearl’s father is. Hester’s husband (Kevin Isola) unexpectedly returns in the guise of a doctor and blackmails her to keep his true identity secret. He’s determined to discover the father, not out of love or loyalty, but a desire for control. Meanwhile, the town’s clergyman, Rev. Dimmesdale (Keshav Moodliar) sermonizes about guilt and sin. Addressing the theater audience as his congregation, Moodliar’s delivery is pitch-perfect, and his portrayal of the conscience-stricken Reverend inspires great sympathy.

The governor’s prunish wife, Goody Hibbins (Mary Bacon), is not sympathetic. She’s embittered by unsuccessful pregnancies, and claims Hester has bewitched her. We know, as Hawthorne did, what a dangerous accusation this is, only a few decades before the Salem witch trials. (One of the presiding judges was Hawthorne’s great-great grandfather, John Hathorne—the only one of the judges who never repented his actions.)

Most of the play takes place when Pearl is about four, and special mention must be made of the puppet that plays Pearl, animated and voiced by Nikki Calonge. As Hamill said about the decision to use a puppet, “In some ways a real child is too real. The magical thing about puppets is that they accomplish the real and the otherworldly.” Feisty, stubborn, uncharming Pearl seems determined to displease the Puritans, chanting, “I love sin! I love sin!” By clever staging, Calonge becomes Pearl’s shadow. You don’t forget she’s there, but it’s Pearl who shocks Goody Hibbins.

The admirable but minimalist sets work hand-in-hand with the sound design to move you quickly from scene to scene, town to country. A memorable production, beautifully presented!

Two River Theater in Red Bank, N.J., is easily reachable from NYC by New Jersey Transit. For tickets, call the box office at 732-345-1400 or visit the Box Office online.

Who’s the Best Holmes and Watson On-Screen?

I asked this question of a certain kind of Sherlock Holmes expert: people who write stories in the Conan Doyle tradition. Quite a few contemporary writers take inspiration from Victorian England, Holmes’s wide-ranging if idiosyncratic erudition, and Watson’s genial writing style. I’ve had three such stories published and can attest to how much fun it is to don another writer’s hounds tooth suit.

The writers whose picks for best on-screen Holmes/Watson portrayals all appear in Sherlock Holmes: A Year of Mystery 1885, published last December by Belanger Books. Many of them have written a number of Doyle pastiches, and in the coming weeks, I’ll say more about why and how. They’ve generously shared their love of Holmesiana with me—and now you. *=one vote

*Basil Rathbone/Nigel Bruce
The 14 Hollywood films in this series are the classic of classics, released between 1939 and 1946, and the vehicle by which Americans first developed a relationship with an on-screen Holmes and Watson. Thus, “for tradition’s sake, maybe Rathbone-Bruce have the edge,” says author Hassan Akram. My own quibble with this series are well put by David Marcum, who says, “Basil Rathbone would be my favorite Holmes if he wasn’t saddled with Boobus Brittanicus Nigel Bruce, who was not Watson.” If you’ve seen the Rathbone/Bruce Hound of the Baskervilles [1939], you’ll know what he means.

***Jeremy Brett/David Burke/Edward Harwicke
In this Granada Television series, which over its 41 episodes (1984 – 1994) involved two actors in the Watson role, is the favorite of DJ Tyrer. “Not only does Jeremy Brett fit very closely to how I imagine Holmes,” he says, “but the series is a faithful adaptation, adding to the illusion.” George Gardner also favored this series, noting Watson’s direct voice and Brett’s “manic edge.” When he was writing, “it was Jeremy Brett’s Holmes that I saw.” Author Shelby Phoenix couldn’t be clearer: “It’s Jeremy Brett and David Burke all the way.” David Marcum takes exception. He says, Brett “did not play Holmes—he played himself, foisting his own physical and mental illnesses on the character.” (Brett took lithium to control his bipolar disorder, and the medication affected his health and appearance.)

**Robert Downey, Jr./Jude Law
George Jacobs admits to missing the classic duos and to admiring the films featuring Robert Downey, Jr., and Jude Law from 2009 and 2011 (directed by Guy Ritchie ). Their “modern take” also appeals to Gustavo Bondoni, and Shelby Phoenix calls them “an iconic version.”

**Benedict Cumberbatch/Martin Freeman
This four-season BBC series (airing 2010-2017) is a tight runner-up for author Hassan Akram, and Kevin Thornton says Cumberbatch is “The only [Holmes] who has energized me enough in the last twenty years to sit and watch him,” suggesting an interesting tension between historical and contemporary influences in his creative process! The tabloids suggest the series would have gone on longer if the two stars had gotten along. It’s my current favorite, too, admitting great admiration for Martin Freeman. Interestingly, the producers image of Holmes was as a “high functioning sociopath.”

*Johnny Lee Miller/Lucy Liu
Here’s an unconventional choice. George Jacobs, who admits to missing the classics, found that the CBS series, Elementary, with 154 episodes that aired from 2012 to 2019, “had the best friendship chemistry and kept Holmes’s demons without losing his intrinsic goodness.”

Extra Credit
David Marcum provides a handy list of the many other actors who he believes have successfully played the Great Detective: Arthur Wontner (in a 1930s film series, set in the 30s), Ronald Howard (1954), Douglas Wilmer (in a 1964 – 1965 BBC series), Peter Cushing (a continuation of the BBCseries, airing in 1968), and Ian Richardson (1983). That Holmes has appeared in so many notable productions is irrefutable evidence of his lasting appeal.

So, who’s your favorite?

Photo of Benedict Cumberbatch by Fat Les, cc by 2.0 license.