Cinema is one of the great pleasures in life. If you love good movies, then you will be delighted with the lineup for the Turner Classic Movies Film Festival (May 6-9 2021). This post will point you in the right direction as well as provide an added bonus. One of the titles featured during the festival is 1996’s Nichols and May: Take Two. I had the honor of interviewing Mark Harris, author of the New York Times Bestseller, Mike Nichols: A Life. I hope you enjoy our chat and be sure to catch all the great movies during the festival. During our conversation, I tried to fit in as much as possible regarding Mike Nichols (1931-2014), such a iconic figure in the world of improv comedy, theater and film known for such landmark films as Who’s Afraid of Virginia Woolf? (1966), Catch-22 (1970), and Carnal Knowledge (1971). And those three titles are just scratching the surface!
Cast and producers including Al Pacino, third from left, Meryl Streep, third from right, and Mike Nichols, second from right, hold the award for outstanding miniseries for their work on “Angels In America,” at the 56th Annual Primetime Emmy Awards Sunday, Sept. 19, 2004, at the Shrine Auditorium in Los Angeles. (AP Photo/Mark J. Terrill)
Harris first got to know Nichols during his work adapting Tony Kushner’s landmark play, Angels in America. By then, Nichols was in his seventies and a master of his craft many times over. During our talk, Harris noted: “It is remarkable to me how Nichols kept looking outward during a production, while the meter was still running, finding ways to construct and to add.” As for what might be said in describing Nichols’s body of work, Harris said it wasn’t a matter of maintaining a thematic structure. It was really more down to earth. “It was about finding what excited Nichols to pursue a project: a script, a collaboration, a writer, an actor.”
NICHOLS AND MAY: TAKETWO (1996): TCM premiere of this documentary about the influential comedy team of Mike Nichols and Elaine May. Four of their radio sketches have been re-created with new animation created especially for the program.
Includes conversation with author Mark Harris, Mike Nichols: A Life.
Nichols and May: Take Two
SATURDAY, MAY 8 11:45AM ET
And remember, the festival kicks off May 6th! This year’s Festival will be presented virtually and feature four days of incredible programming on TCM and within the Classics Curated By TCM Hub on HBO Max, a dedicated destination for classic movie fans within the HBO Max app.
Who’s Afraid of Virginia Woolf? (1966)
Carnal Knowledge (1971)
2021 TCM Classic Film Festival
Thursday, May 6 through Sunday, May 9 at two virtual venues: the TCM networkandtheClassics Curated by TCM Hub on HBO Max.
To learn more, go to the TCM Film Festival site right here. You’ll discover a unique film festival experience on TCM.
1917 is a movie that brings World War I to life, a story told in the trenches and meant to be sobering. Early scenes in the film are looking down into the trenches. The humble title sets the tone for a narrative that focuses the viewer on a specific time, place, and protagonist. This is a journey that one soldier must take in order to save a battalion of 1,600 men. The battalion is being ordered to stand down in order to avoid an enemy trap and two soldiers have been tasked as couriers to send that message.
Crouching toward the goal.
Lance Corporal Schofield (George MacKay) never expected such a dangerous, and pivotal, assignment but there he is, paired with another soldier (Dean-Charles Chapman) who he doesn’t really care for. But any callow sentiment is quickly wiped away once the race is on. As the two move above ground, they can’t help but remain low, crouching toward their goal. It’s not long before Schofield loses his teammate and the focus tightens upon the determination of one man.
Schofield’s silhouette often holds together the composition of scenes.
Designed to play out in the form of a single, extended, endlessly mobile shot, 1917 is visually stunning, bringing The Great War into brilliant 21st century relevance. No, we are not at all that different from our early 20th century ancestors, even with our technological superiority and cultural awakening. Bravery is the overriding theme. Schofield is the unlikely hero who is but a little cog in a system. It has been foisted upon him to do the right thing and that will only happen if he follows his conscience and precisely follows orders. Now, the camera moves closer on Schofield and his silhouette often holds together the composition of scenes.
Schofield retains the grace of the understated hero.
Director Sam Mendes pays tribute to his grandfather’s exploits in this epic film. Both Mendes and co-writer Krysty Wilson-Cairns were guided by family war stories. The narrative is, by all measures, epic in the extreme. Influenced by the lore found in some of the best in cinema, literature, and even video games, this is a movie packed to the gills with intensity, a veritable roller coaster of highs and lows. Sandwiched between two heart-wrenching scenes of mortal combat, there’s even a quiet moment when Schofield stumbles upon a mother and child quietly surviving in the shadows. This tender scene inspires Schofield to sing a few lines from Edward Lear: “On a winter’s morn, on a stormy day, In a Sieve they went to sea!” Not long after that, Schofield himself is fighting the mighty life-threatening river currents. No doubt, this is a movie that can get caught up in its own grandiloquence. And yet, through it all, Schofield remains the stalwart understated hero and preserves for this epic film the irresistible charm of a fable. For all its grandeur, 1917 manages to retain a great sense of humility. Among its many influences is the classic novel, All Quiet on the Western Front, a story that is decidedly humble. Within this big epic film resides a modest human heart.
Welcome to my novella, “Dale Carnegie Lives!” We will be reading this together each week! This is the first installment and a new chapter will be rolled out each week all the way to the very end. I hope you enjoy the offbeat humor. I hope you get a kick out of this misadventure. If you would like a handy dandy complete version that you can read anywhere, then you can find the whole book at Amazon right here.
Set in the summer of 2017, this is the story of a Cuban illegal alien who slips across the United States border. Can you say, “Donald Trump” and “Build The Wall” three times fast? There is that aspect to this tale. But there’s much more.
This is the story of a man who stumbles upon his purpose in life, later in life, after most people would have called it quits. This is the story of a man, completely out of his element, who confronts numerous clues to discover his true destiny. Fernando is a man unjustly imprisoned for forty years who, in a great leap of faith, escapes Cuba in a hot air balloon.
Fernando believes in the promise and hope embodied in what is best in the United States of America. He is not fully aware of the Donald Trump phenomena but it doesn’t really matter. Fernando believes in something transcendent: the power of the individual to have the courage to chase after any dream.
Empowered with a belief in his own abilities and guided by a supernatural connection to legendary motivational speaker Dale Carnegie, Fernando has the power to move mountains and there is no wall that can hold him back!
We all, deep down inside, desire to improve ourselves. There’s that feeling to do better, be better. We all get that feeling, right? Some of us choose to act on it– but we often fall short. Sometimes we fall flat on our face. You get the picture. This is a story of a very unlikely hero who has always been determined to improve himself. Fernando Rivera knows a lot about falling down. He is a little man with little hands and little feet but with a way big heart. He has a very unusual tale to tell that should entertain and probably inspire. We shall see.
Over time, our optimistic little hero’s ideals had been crushed to near extinction. He had turned into a shell of his former self. He had regressed back, back, back, to something primal, a simple animal. This is the sad and sordid tale of such a pathetic beast who never stopped believing. He never stopped dreaming, despite all the nightmares.
Despite himself, buried under resentment, fear, and confusion, Fernando had a good side. For everyone is capable of redemption—or at least a cup of coffee and a good honest slap on the back (or face) for good luck. Fernando knew he deserved more, much more. Fernando, even after all those years of torment, had a purpose to fulfill. It seemed unlikely, so unlikely. But he had dreams to realize, dreams he hadn’t even dreamt of yet.
It is the story of Fernando’s entry into the world–so dramatic, unusual, and perhaps supernatural– that holds the key to his destiny. The chain of events goes back to New York City, Halloween night, 1955. It was on this very night in an alley overlooking a stage door exit, filled with expectant onlookers, that a mysterious-looking man in a fedora waited. Along with the masses, he waited for a glimpse at one of the most celebrated figures of the era, the world-famous motivational speaker, Dale Carnegie. But he hoped for more than just a mere glimpse. He aimed to talk to Mr. Carnegie. In fact, he was compelled to connect with Mr. Carnegie. Too much was at stake.
The man in the fedora was Manuel Rivera, a talented singer and musician. Back home in Cuba, he was a rising star. But on the streets of this massive metropolis, he barely registered any recognition. In the span of a few months, Manuel had tried to make his mark but, aside from a few club dates, he was as far away from fame and fortune as a lotto ticket is from winning. It was Dale Carnegie’s book, “How To Win Friends and Influence People,” that had helped him out so much during this struggle. He remained uncertain about his own future but he felt ever more confident that he and Paloma would soon have a family of their own back in Cuba. Perhaps a son. Instinct told him that it was essential that he try to make his mark that night with Dale Carnegie as his prized audience. There would only be a few minutes available to him. He would be on a plane back to Cuba that very same night.
Call it a leap of faith, a crazy fever dream, or simply following gut instinct. Manuel had to be exactly where he was, doing exactly what he was doing. Beads of sweat pored down his scrawny face as he grew anxious. He was over-thinking again. When Dale Carnegie emerged, he had to lunge forward and act. It was all in the timing. To any passersby, it would look perfectly natural, this highly unnatural act of forcing one’s self onto another: in those few innocent seconds, it would be him, his miserable sweaty and improvised little life, connecting with what seemed like this ray of pure beaming light.
Carnegie had chosen a little theater in Spanish Harlem to lead a workshop on self-improvement. Everyone in attendance had suffered some setback. Many had trouble finding work because of the color of their skin or their accent. They were vulnerable to blaming themselves but strong enough to know otherwise. There were whole families in attendance and, as it was that time of year, kids were dressed up in costumes celebrating both Halloween and Dia de los Muertos. Carnegie could see many little figures dressed as goblins, witches, and skeletons, each of them looking up and waving or dancing. When it was over, Carnegie bowed to great applause and made his way out the exit.
And then, it happened: there was Dale Carnegie at the stage door! He seemed uneasy as he surveyed the crowd outside but he offered up a smile and a warm wave of his hand. That was Manuel’s cue. He lunged forward for the sake of his own destiny and something more that pounded in his heart. If only Mr. Carnegie could understand how important all of this was.
He sang a few notes. He actually began with a song. It was so crazy—but it instantly set Manuel apart from all the others. That’s all it took. He sang a few bars from one of his own original compositions. “I was lost and desolate, and it made me cry. But then I discovered Dale Carnegie, and my heart flies so high!” In that moment, Manuel had Dale Carnegie’s full and undivided attention. “What a lovely song—or is it a poem? I appreciate the sentiment, sir!”
“And I appreciate you, Mr. Carnegie!” yelled out Manuel.
“Who are you?”
“I am Manuel Rivera. And it is my destiny to meet you!”
“Well, sir! I am very flattered. I understand too. You seek guidance, meaning, and purpose. You have it all within yourself.”
“Of that I am sure, Mr. Carnegie! What I am speaking about is a legacy. Not just mine—but yours too! With me, you can count on your legacy. I will do everything in my power to have your name, and your good works, live on!”
“I see,” Carnegie looked up and beyond the spectacle of well-wishers. “I am tired and tiring out, I must say.” Carnegie could not help but linger and studied Manuel’s face intently before giving out a sigh. “Sir, I may very well take you up on your offer!”
Carnegie seemed to nod to Manuel. And then the connection was abruptly broken. Carnegie proceeded down the steps, into the throng of people, and was temporarily swallowed up by the chaotic mass of excitement, followed by a quick escort into a waiting car that promptly sped away.
As if he’d been riding a magic carpet, Manuel Rivera had found his way home. It was almost as if he’d never left, back in the arms of Paloma. He had barely unpacked before he was more than just in his wife’s arms. It was all a matter of timing. They rolled around in bed, lost in each other, and he could feel it happening. He had mounted her. He was inside her, both their bodies throbbing. Suddenly, he felt an overwhelming release, sweat dripping down his back, and he shuddered. He knew this was the right time for great things.
Later that bright new day, one foot out of bed, he casually turned on the radio. They had been asleep for hours. He craved some music but the news on the radio jolted him back to life. Dale Carnegie had died. He could instantly sense what was going on. There was no other possibility. He knew that Paloma was pregnant! And that, he gulped just at that mere thought: Dale Carnegie knew he would be safe to reincarnate with the Riveras! It had begun: the reincarnation of Dale Carnegie!
Michael Stone (voice by David Thewlis) and Lisa Hesselman (voice by Jennifer Jason Leigh)
You go to Google and look up this disorder and you get, “The Fregoli delusion, or the delusion of doubles, a rare disorder in which a person holds a delusional belief that different people are in fact a single person who changes appearance or is in disguise.” Screenwriter Charlie Kaufman liked that as a concept, became fascinated by it, and it led to his writing 2015’s “Anomalisa,” a stop-motion adult animated comedy-drama film directed and produced by Kaufman and Duke Johnson, based upon Kaufman’s 2005 play of the same name. I had read about it and had seen the trailer. I had rented it and then found myself with a quandary: I had lagged on my video viewing and was looking at a mounting rental fee. So, I sat down then and there and viewed it, a quite random thing to do but time quite well spent.
Everyone else (voices by Tom Noonan)
Similar to the main character, Michael Stone (voice by David Thewlis), I find the human comedy we all live in to often leave one scratching one’s head. Well, we all feel like that to some extent. But it’s when you get into specifics that we could be talking about a full blown existential crisis. This is what Michael Stone is going through. And maybe you’ve already gotten a chance to see the movie but, I must say, getting yours hands on a DVD or Blu-ray is well worth the effort. The extras are engaging: plenty of discussion on acting and production and plenty of Kaufman. That’s where I picked up the connection to the Fregoli delusion. It is at the Hotel Fregoli where our story takes place. And to hear Kaufman talk, as well as the rest of the creative team, this feature came close to never seeing the light of day many a time. The special stop-motion process nearly killed everyone with the expenses and sheer labor. But you wouldn’t have gotten this unique film without this grueling process. Sounds like a dilemma tailor-made for Charlie Kaufman.
You can say that this film is a perfect companion piece to Kaufman’s celebrated “Being John Malkovich,” from way back in 1999. It is very much a commentary on the absurdity of life up until proven different and, even then, there are still no guarantees on happiness. There’s more likely a guarantee on sadness than happiness, according to Kaufman. What gives our hero, Michael Stone, some hope is a connection he stumbles upon during a sales seminar where he is the featured speaker. He falls in love with Lisa, a call center representative (voiced by Jennifer Jason Leigh). On the surface, Lisa seems basically average but Michael is taken with her quirky personality. For Michael, everyone else he encounters is literally a slight variation on the same theme. And here is where Tom Noonan comes in as the voice of every other conceivable character in the film besides Michael and Lisa. So, there you have it: a love story with that sardonic Kaufman vision.
“Anomalisa” will prove to be a most rewarding experience even if you don’t consider yourself necessarily a fan of stop-motion animation since this film does everything possible to subvert your expectations. You lose yourself in this story, root for the characters, all the time made aware that you are looking at essentially little puppets on a stage. But these are highly sophisticated maquettes with the eerie quality of evoking very human emotion while retaining their puppet quality. There are seams to each of the character’s faceplates that are left visible to drive the point home. And you can enjoy various other details to this animation process when you check out the extras section. It is certainly a film I would see again.
“The Girl with All the Gifts,” a novel by M.R. Carey, caused quite a sensation when it was first published in 2014. I have read it and quickly found it to be inventive, something of a game changer to the zombie genre. Well, the movie adaptation became a smash hit in the UK when it was released in 2016. And now it invades its way to a wide release: on DirecTV January 26th and in select theaters and On Demand February 24th.
Kudos to Mike Carey for writing the screenplay to his novel!
Melanie (Sennia Nanua)
The near future: humanity has been all but destroyed by a fungal disease that eradicates free will and turns its victims into flesh eating “hungries”. Only a small group of children seem immune to its effects. At an army base in rural England, this group of unique children are being studied and subjected to cruel experiments. But one little girl, Melanie (Sennia Nanua), stands out from the rest.
When the base falls, Melanie escapes along with Miss Justineau (Gemma Arterton), Sergeant Parks (Paddy Considine), Dr. Caldwell (Glenn Close) and two other soldiers. Against the backdrop of a blighted Britain, Melanie must discover what she is and ultimately decide both her own future and that of the human race.
THE GIRL WITH ALL THE GIFTS is directed by Colm McCarthy and written by Mike Carey. The distributor is Saban Films, Lionsgate. Visit the movie’s Facebook page right here.
Philip K.Dick’s 1962 novel, “The Man in the High Castle”
One nice perk at Comic-Con in San Diego this year will be Amazon unveiling a new episode of their adaptation of Philip K. Dick’s 1962 alternate history novel, “The Man in the High Castle.” The pilot episode, in a nutshell, is pretty awesome in how it presents a world in which the Axis powers won World War II. The ten-episode thriller comes to Amazon this fall. I think it should prove to be one of Amazon’s best offerings. It inspired me to go ahead and read the original novel. I was ready to expect it to be a different animal, much in the same way that the “Bladerunner” movie and novel differ. And I was pleasantly surprised.
Amazon’s “The Man in the High Castle”
Comparing the pilot episode with the novel, I appreciate just how action-oriented this Amazon TV offering is. I admire what Amazon has done since they truly adapted the work from one medium to another. It really comes down to one big thing, that was taken from the novel, and will power the television series. That is to be found in the title itself. The novel treats it one way. The television series treats it another way. I won’t spoil anything for you, but if you’re one of those types who doesn’t want to know anything beforehand, then consider yourself warned.
What it takes the length of a novel to explore can be distilled into a compelling visual lasting only a few seconds on film or television. For the purposes of television, the essence, as it were, taken from another medium, cannot only be distilled but then stretched out to infinity, or for however many seasons. Here we have characters living in a world where Nazi Germany and Imperial Japan won the war and carved up the former United States. But there are pockets of resistance questioning the status quo. The biggest pocket of questioning resides with “The Man in the High Castle.” In the novel, this individual is easy enough to find. In the television series, this individual is cloaked in mystery.
And here’s the thing, the thing that makes the novel such a great read and which gives the TV show every opportunity to succeed: this business of questioning can get pretty interesting. At the end of the day, the questioning is about reality itself. Now, here’s the kicker: in the novel, Philip K. Dick was perfectly content to have a novel that raises these questions about what is going on and suggests a world where the Allied forces won the war. It is readily available in any bookstore and it’s even a bestseller. In the TV series, it’s not a novel but copies of newsreel footage showing the Allies as victors. This is totally an underground thing. And spooky. How do you fake newsreel footage showing such elaborate scenes? Sure, they could be faked but they sure don’t look faked. And so this hints at something supernatural. It sure hints at something that is not explicitly in the novel. What it does, however, is instantly evoke that delicious uneasy feeling of suspense that you get from reading the original novel. And that could very well prove a recipe for one successful run on Amazon.
At this year’s Comic-Con in San Diego, Amazon will host a special screening of the first two episodes of The Man in the High Castle. No worries if you can’t attend this year since the entire event will be live-streamed on EW.com. Check out Entertainment Weekly’s interview with Ridley Scott and his role as an executive producer on the TV series right here.
The special event takes place on Friday, July 10 at the San Diego Civic Theater. In addition to the first two episodes – the second of which has never been seen before – there will also be a Q&A with the cast at the venue.
Amazon’s The Man in the High Castle stars Alexa Davalos (Mob City), Luke Kleintank (Pretty Little Liars), Rupert Evans (The Village), Cary-Hiroyuki Tagawa (Mortal Kombat Legacy), Joel De La Fuente (Hemlock Grove), Rufus Sewell (Eleventh Hour) and DJ Qualls (Z Nation). David Semel (Heroes) directed the pilot episode, which was written by Frank Spotnitz (The X-Files). Both serve as executive producers alongside Ridley Scott and David W. Zucker.
Check out a teaser for The Man in the High Castle above. You can see what I mean about the spooky newsreel motif. The pilot episode can be seen over at Amazon right here. Suffice it to say, you can expect the 10-episode thriller and original novel to prove to be very distinct animals all the way to the end. You can find Philip K. Dick’s novel, The Man in the High Castle, over at Amazon right here.
I don’t think you can sue a fictional character for having said something that came from her fictional mind in a work that is fiction. Can you? Well, Paul Brodeur is going to take a stab at it. Actually, he’s targeted some deep pockets that are everything but fictional. Paul Brodeur is a science journalist who was a staff writer at The New Yorker for nearly 40 years. In the film, “American Hustle,” the character Roslyn (played by Jennifer Lawrence) tells her husband, Irving (played by Christian Bale) that “microwaves take the nutrition out of food.” “That’s bullshit,” Irving replies, and his wife shows him a magazine and says, “It’s not bullshitt. I read it in an article. Look, by Paul Brodeur.”
Brodeur claims that this exchange between fictional characters, in a work of fiction, has damaged his career since he’s never actually stated that “microwaves take the nutrition out of food.” The solution, of course, is to sue the companies that produced and distributed the film, Columbia Pictures, Atlas Entertainment and Annapurna Pictures.
Good luck with that, Mr. Brodeur. Personally, I tend to think that microwaves do take the nutrition out of food. So, sue me.