I saw this as the second feature in a double bill of Buster Keaton movies. "Steamboat Bill, Jr." is perhaps most notable for its extended sequence of stunts near the end, in which Keaton's character is swept about by a hurricane. In the midst of this sequence is the iconic scene in which the front of a house falls on Keaton but he is standing perfectly positioned where there is a window opening. He emerges unscathed. One thing notable about Keaton is how short he was. He didn't stand more than 5 foot, 6 inches, and his paucity of height is played as a sight gag repeatedly here. The story of "Steamboat Bill, Jr." is a bit thin, but Keaton is always lively and fun to watch.
I was surprised at how clean this film looks, considering that it dates from 1927. I'm sure restoration work has been enacted. Those who participated in the restoration deserve applause for their efforts. Buster Keaton is one of the great screen stars of the silent film era. This is my first time seeing him onscreen (besides his brief cameo in Billy Wilder's "Sunset Boulevard"), and he is a joy to watch, kinetic and lively at all times. "The General" is set in the deep South during the Civil War. Keaton plays a train conductor who yearns to be part of the war effort. A lengthy section of the film involves a runaway train and all kinds of wacky hijinks. Some of the stunts Keaton executes are stunning. Apparently, "The General" was a box office flop in the time of its release, but the film is now esteemed as one of the greats of all time. I understand the revisionism - "The General" may be Keaton's finest hour. It's a fun romp that stands up to the scrutiny of modern viewing.
Director Davis Guggenheim shadows four first-year teachers in this documentary film about the joys and frustrations of the teaching profession. He tends to portray the American public schooling system as broken. The cracks are evident in "The First Year", and the breach is more evident in his 2010 documentary "Waiting for Superman" (which I have yet to see at the time of this writing). "The First Year" is fascinating viewing. These are the average teachers dealing with ordinary kids, kids whose parents may or may not have an active role in their lives. We watch as the teachers contend with administrative mix-ups, budget shortfalls, and disruptive students. And it's important that we care - these kids are going to be running things when you and I are in shuffle mode, constrained to our walkers. Let's not be lamenters at some later date; let's act now.
A fascinating portrait of the collision point between friendship and ambition. There may be any number of half-truths in "The Social Network", a film that steadfastly refuses to change the names of the real people depicted on screen, but I didn't care about any that. I wanted to be entertained, and I was. I knew some of the backstory, the Mark Zuckerberg "Creation myth" if you will, but most of the details were new to me. The cast is awesome and the writing is stellar. The screenwriter Aaron Sorkin pings lines at the audience as though engaging his opposite number in a table tennis match. Jesse Eisenberg is particularly excellent as Zuckerberg, playing him as an outcast who may or may not suffer from Asperberger's. In "The Social Network", a cadre of young men get rich quick. We in the audience are left to toll the cost as friendships shatter and fade in front of our eyes. Ah, the impudence - and brilliance - of youth.
Back yet again with another episode of Highbrow! Lowbrow? the podcast that looks at the Best Picture Academy Award Winner and Top Box Office Earner of the same year. The year 1999 brings us American Beauty (Academy award winner) and Star Wars: The Phantom Menace (top box office earner).
American Beauty, directed by Sam Mendes, is a story about how one average American family tries to deal with the drudgery of suburban life. Kevin Spacey, who plays the fed-up dad, lusts after his daughter's friend (played by Mena Suvari) as a way of escape. Annette Benning, the uptight mom, turns to sex and shooting guns to elude her family strife. Thora Birch, the daughter caught between the two, finds refuge in the form of her next-door neighbor, a bizarre filmmaker (played by Wes Bentley) who reveals to her beauty in the least expected places. We were both surprised that the film won so many accolades, since upon second viewing, the film lacks a certain depth. The film paints in broad strokes, and doesn't possess the maturity of filmmaking required by its overarching themes. Nevertheless, although initially it was hard to be invested in the stereotypical setting, there are a number of strong scenes that draw you in.
Star Wars: The Phantom Menace, directed by George Lucas, is the first of the "prequels", depicting the rise of the Empire, and the beginning of the Star Wars Saga. Queen Amidala (Natalie Portman) defends her planet Naboo with the help of two Jedi, Qui-Gon Jinn (Liam Neeson) and Obi-Wan Kenobi (Ewan Macgregor) against the nefarious Trade Federation. Young Anakin Skywalker (Jake Lloyd) begins his journey into Jedi life, but the dark figure of the Emperor casts a shadow on all their fates. And Jar Jar Binks... why? Oh Lord, why? This film suffers from several problems: poor acting, a confusing and uninteresting story and unnecessary characters. However, after all these years the CG effects are still stunning, as are the fantastic settings and unique costumes. We also enjoyed the action sequences; the intensity of the light saber battles were definitely amped up for Episode 1.
Do the light saber battles of The Phantom Menace entertain more than the battles of everyday life in American Beauty? Is there more meaning to the Force or a floating plastic bag? Listen to our 5th Episode to find out.
After attending a movie at the Cinemark Theater in Hayward, CA I decided to email the manager (or perhaps just some automated email drone receptor in corporate nowheresville...) about my experience. Here is what I wrote:
Hello -
On Sunday evening I attended a showing of "The Social Network" with my wife at the Cinemark Theatre in Hayward, CA. The accommodations were excellent - comfortable seats, great picture, great sound. I only wish you wouldn't have blasted us with the terribly loud advertisements prior to the film.
I understand that economic realities may now force your hand and require you to screen ads before a movie. As much as I despise this (I remember when movie theaters were a commercial-free haven; it was wonderful) I can accept it. However, I'm disturbed at how loud the volume of said ads was. The ads were so loud that it was impossible to carry on a conversation. I am emailing to request that you turn down the volume of the advertisements in deference to your audience's comfort. They - and I - will thank you.
The halls of the Hayward Cinemark theater are adorned with all kinds of classic movie posters. The decor is very cool. I wonder whether the theatre has considered screening any of these classic films? I know that there many steps involved in this - obtaining a decent print of the film, advertising & promotion, scheduling - but I think a classic movie showing once or twice each month could be quite successful in Hayward if curated well. I know I'd love to see "Casablanca" or "Rebel Without a Cause" on the big screen.
The Paramount Theatre in Oakland has a regular series of classic movie showings that is much-beloved and well attended. Here's a link to their schedule.
![Steamboat Bill, Jr. [Ultimate 2-Disc Edition]](http://ws.amazon.com/widgets/q?MarketPlace=US&ServiceVersion=20070822&ID=AsinImage&WS=1&Format=_SL160_&ASIN=B003H221MI&tag=jesmic-20)
