Daily – Page 967 – Hollywood Elsewhere

Never Forget Four Fakers

October 17, 2020October 17, 2020 by Jeffrey Wells

Except for the Four Fakers aspect, Martin Scorsese‘s Rolling Thunder Revue: A Bob Dylan Story was pretty much a purely pleasurable experience for everyone who saw it during the summer of ’19. It’s been on Netflix ever since, of course. And now Criterion has a 4K Bluray version coming on 1.19.21.

What’s my richest musical recollection from Scorsese’s doc? Easy — Joni Mitchell playing the then-recently composed “Coyote” for Dylan, Roger McGuinn, Gordon Lightfoot and others at Lightfoot’s home during the tour. The clip, originally shot for Dylan’s misbegotten Renaldo and Clara, is on YouTube, of course. “Coyote” would go on to open Mitchell’s 1976 album Hejira but was in the early stages while Mitchell was performing on the RTR tour.

From “The Four Fakers,” posted on 6.10.19: To my mind the only serious problem with Martin Scorsese‘s Rolling Thunder Revue doc is that he includes four phony talking heads among several real ones, and thereby violates the trustworthiness that we all associate with the documentary form, and for a reason that strikes me as fanciful and bogus.

The doc acquaints us with 22 or more talking-head veterans of the tour (Dylan naturally included) but among this fraternity Scorsese inserts what Toronto Star critic Peter Howell is calling the “four fakers” — made-up characters portrayed by real, recognizable people.

Sharon Stone, who was 17 when the Rolling Thunder Tour was underway, seems to be speaking as herself but she’s actually “playing” The Beauty Queen. At first Michael Murphy seems to be speaking from his own perspective, but then you realize he’s playing The Politician. Actor-performer Martin von Haselberg (the husband of Bette Midler) plays The Filmmaker. And Paramount chairman and CEO Jim Gianopulos portrays The Promoter.

Some of what they say to the camera might be factually correct in this or that anecdotal way, but it’s all basically bullshit — made-up, written-out or improvised recollections that are performed for a chuckle, for the hell of it.

Scorsese explains his decision to include the four fakers in the press notes: “I wanted the picture to be a magic trick. Magic is the nature of film. There’s an element to the tour that has a sense of fun to it…doing something to the audience. You don’t make it predictable. There’s a great deal of sleight of hand.”

Who says RTR was driven by a sleight-of-hand, put-on mentality? I never heard that before. I thought it was about keeping it real, small-scale, people-level, driving around in a small tour bus, passing out pamphlets, etc.

Scorsese’s doc isn’t some fanciful, mask-wearing thing. 96% of it is just footage of Dylan’s ’75 Rolling Thunder tour throughout New England intercut with visual-aural references to what life was like back in the mid ’70s. The fact that it contains invented testimony from four fleeting fakers doesn’t dilute the basic composition. Perhaps the four fakers idea came from Scorsese’s regard for Italy’s Comedia dell’arte tradition.

The “F” Word…Not My Idea

October 17, 2020October 17, 2020 by Jeffrey Wells

In the process of reviewing Bruce Wagner‘s latest novel, “The Marvel Universe: Origin Stories“, Wagner’s editor at Counterpoint Press said that certain terms in the novel were “problematic,” first and foremost being the word “fat.”

Wokesters have banished the “f” word as flatly, decisively and eternally as the “n” word and other hateful epithets. I understand that, of course, and I know that the preferred term is “person of size” or, if you will, non-svelte. (“Calorically challenged” has always been frowned upon.) The long and the short is that Wagner was appalled at the editor’s refusal to allow the “f” word in his book, and for this and other reasons decided to self-publish the book for free.

Yes, I’ve used the “f” word a few times — Fat Thor, Fatzilla, etc. In late May of ’07 I was standing on a small bridge in Venice when I noticed a morbidly obese fellow and his wife reclining in a passing gondola, and the combined weight was such that the gondola was almost taking on water. “Wow, look at that fat guy,” I muttered to my son Jett, who was standing next to me. I knew I had misspoken. My voice had echoed slightly. Jett’s immediate response was to touch my forearm and go “sshhhhh.’

I’m not so stupid as to not understand that avoiding the “f” word is advisable. I get it. Of course. I realize. I’m just trying to get along. I am not a harshly judgmental person as a rule. I simply err on the side of offhanded candor from time to time.

Repeating For Emphasis

October 17, 2020October 17, 2020 by Jeffrey Wells

In honor of yesterday’s Netflix debut of Aaron Sorkin‘s The Trial of the Chicago 7, here’s my original 9.25.20 review plus excerpts:

This is a truly exceptional smarthouse drama — a character-driven procedural that will hook adults of whatever age.

Despite the tumultuous late ’60s milieu Sorkin’s film is not about the usual noise, rage and chaotic energy, but about thought and procedure and agendas laid face-up on the table. It’s about clarity and drillbits and impressive brain-cell counts.

The endless Chicago 7 trial (September ’69 to February ’70) was about a Nixon administration attempt to nail eight anti-establishment activists for activities tied to violent conflicts during the August ’68 Chicago Democratic convention.

Four of the defendants were Abbie Hoffman, Tom Hayden, Jerry Rubin and activist David Dellinger, respectively played by Sacha Baron Cohen, Eddie Redmayne, Jeremy Strong and John Carroll Lynch. The idea was to convict them for violating the Rap Brown law by crossing state lines in order to incite a riot.

In so doing Nixon’s attorney general John Mitchell was ignoring a previous assessment by LBJ’s attorney general Ramsey Clark (Michael Keaton), which was that the conflict was primarily provoked by the Chicago police.

The number of defendants was reduced to seven when the attempted prosecution of Bobby Seale (Yahya Abdul-Mateen) was declared a mistrial.

The Trial of the Chicago 7 works because it’s all on the page — because of Sorkin’s shaping and honing — emphasizing and de-emphasizing to achieve a certain focus and tone. And then he assembled a top-tier cast and hired Phedon Papamichael to shoot it without any muss or fuss. Sorkin could’ve made a half-dozen other films about the Chicago 7 trial with all kinds of attitudes and approaches, but he decided to make this one.

The film’s central conflict is not a good guys vs. bad guys thing, but between Hayden and Hoffman — between their differing approaches to stoking or harnessing the social unrest.

Hayden’s approach was cerebral and sensible — classic political organizing, focused pragmatism, position papers, non-violence. Hoffman was about trusting in theatrical instinct — hippie-yippie tribalism, generational anger and a vaguely understood practice of cultural revolution for the hell of it (i.e., irreverence, impulsiveness, cranked-up emotion).

The Hayden approach dominates, certainly as far as the defense strategy is concerned, but Hoffman’s (and Rubin’s) wise-ass theatricality and flamboyance punches through.

It’s actually a kind of four-way debate by way of defense attorney William Kuntsler (played by the always-good Mark Rylance) and co-attorney Leonard Weinglass (Ben Shenkman).

But the payoff (and it’s a rouser) comes when Kuntsler decides to put Hoffman on the stand, which sets the stage for one of those robust Sorkin-crescendo moments.