***

Don’t Change the Subject- sp

This is a documentary about suicide, by a film maker who lost his mother to suicide when he was a young teenager. It seems to be his attempt to understand that tragic event in his life at the same time he is making film that he hopes will save some lives. Usually we don’t review films before they are ready to be released. In fact, the final edit on this movie has just been tweaked. It hasn’t hit the film festivals yet and a distribution deal has yet to be made. We hope in a small way, the availability of this review will help the process along as well as encouraging folks in the mental health community to consider using this film as a discussion tool at professional meetings and most of all to be used for educating the public.  According to the National Institute of Mental Health suicide is 10^th leading cause of death in the U.S. and the 3^rd leading cause in the age group 15-24. There are 11.3 suicides deaths per 100,000 people in this country. An estimated 11 attempted suicides occur per every suicide.

While these and other statistics are important, this film is not about numbers and risk factors. It is about real people who tell little pieces of their stories. It is about people who came very close to killing themselves but for some circumstance or reason didn’t do so. It is about the film maker who comes across as a very likeable guy who is trying to figure out why is mother, who he believed loved him, would leave him by her own hand. He reads her letters, listens to tapes of her talking, looks at old film clips and ponders this issue with his older brother, aunt and step mother who married his father after his mom died. His brother never understood how she could have done this when she was in the music business and knew how important was his debut as an opera director that was happening the following week. His aunt, who was a psychiatrist, knew her sister had problems but didn’t see this coming. His stepmother only recently reveals her own special connection with suicide. While the film maker may not have ever completely understood why his mother ended her life, he did realize that more then how she ended her life, she should be remembered for how she lived her life which included much love and support to her children. This message alone gives the film great value.

The filmmaker, Michael Stutz is also the director, writer and producer. He does goes beyond just his own story and some close up vignettes of people who struggle with depression and have come close to doing this fatal deed. He follows a talented choreographer who is preparing a group of young dancers to perform a piece about autopsies. The result is as dramatic as is the meaning to young performers who had to come to grips with what their dance was about. We are introduced to a fairly successful comedian who has a team of writers help him prepare his material that daringly enough is going to be about suicide. It is always tricky business when humor is touching a potentially raw nerve. You have to understand, as a psychiatrist I usually don’t even like it when people use the word “crazy” in stories or in every day life but I appreciated the use of humor in this film. In fact the highlight was a piece by a comedian who did a monologue as a character who was leaving a video to his family prior to his suicide. He said just about everything a loved one would dread that their family member who was ending their life might say about them and how the suicidal person felt about them. It brought me to out loud laughter and will be for me one of the most unforgettable parts of this film about a very serious subject.

I said earlier that I hope professionals will view and use this film in their efforts to prevent suicide. It is not because this film will necessarily educate my profession about suicide. It didn’t really examine the difference between suicide attempts and suicide gestures nor did it attempt to show the different psychiatric diagnosis that people who attempt suicide might have. In fact there wasn’t much of a psychiatric presence in the film. However it has the potential to be very meaningful to anyone who has struggled with suicidal thoughts, had fleeting suicidal thoughts or has been close to anyone who has had these issues. Unfortunately there are a great number of people in at least one of these categories. This film can save lives so it deserves to be seen and will be a worthwhile experience for many people. I don’t know yet when and how it will be distributed but more information about it can be obtained on the following website: http://www.dontchangethesubject.org/  (2011)

**** 

Puncture-sp– Imagine if a simple modification, costing a few cents per item, in the manufacture of a syringe and needle used for medical injections could have saved 800,000 lives in the United States and probably many times that all over the world. But what if there is tremendous resistance to doing this because changing this system would disrupt the scheme where only certain manufactures are allowed to sell their products to hospitals and there is an elaborate kick-back system in place worth at least mutli-millions of dollars. This is the storyline of this movie based on a true story that the Kassen brothers decided that they wanted to make once they learned of the details from the writings of attorney Paul Danizer one of the participants of this unbelievable situation.  Mark and Adam Kassen grew up in a family that had some connection to the medical supply business so they knew how controlling the large companies could be. They got Chris Lopate to come up with a great screen play which the two brothers made into this film

Mike Weiss (Chris Evans) and Paul Danizer (Mark Kassen, also co-director) were high school buddies who now have a small personal injury law firm in Houston, Texas.  Mike is a drug addict but brilliant and Paul is a family man but they work well together. They come across Vicki (Vinessa Shaw), an ER nurse, who suffered a needle stick while injecting a thrashing patient that lead to her developing AIDS. She brings them to Jeffrey Dancort (Marshall Bell) who is the inventor of the safe syringe/needle device that hospitals don’t even want to look out even though it is obvious to all nurses and others that it would save lots of lives. The next thing they know they are battling the big guys with their big lawyers and lots of money. If the story sounds familiar, think Erin Brockovich. It is David versus Goliath except David is busy much of the time sniffing cocaine.  We would like to say that this is a complete fairy tale and nothing like this really happens in the U.S. Obvioulsy however it really does happen. If a lawyer has a good case they can become very wealthy as there are many variations on successful class action lawsuits that we read about all the time. But as we see in this story, it isn’t easy to pull it off and the big guys often do win the day. This film was engrossing, bold, realistic, powerful and a little scary when you realize that things like this happen all time.(2011)

**

Higher Ground-sp  Vera Farmiga for her directing debut chose a movie in which she also starred and one that had a background with which she apparently was quite familiar. Having grown up in a fundamentalist community herself, she knew exactly what she was doing when she took on the story written by Carolyn Briggs and Tim Metcalf. It shows two generations of a family steeped in a Christian congregation led by Pastor Bill (Norbet Leo Butz) that prayed and sang to Jesus and all seemed happy and content no matter what happened to them. There certainly was lot of singing and praying on screen. Corrine Walker  (Farmiga) is swept along with this unbending faith as she marries her teenage sweetheart (John Hawkes) whose happy religious contentment is even greater than hers. All the lovely children in the family seem angelic as they are brought along in the fold. Being a believer in this community means more than just praying to God and Jesus. It also means that women have s subservient role and even in their declarations of faith that should never even suggest that they are lecturing or teaching the men.  Subtle doubts in Corrine are exacerbated as her friend develops a brain tumor but she obviously tries to keep her faith. When she begins to doubt, she has to encounter what erupts in her husband.  She can understand the faith that others maintain but will she be able to keep her own? Part of any success of an Independent film such as this one is the propensity of the audience to identify with characters in the film. That will be a stretch for many of modern day Americans even those with a religious tilt. In the end, the theme of doubt may not be even palatable with the hardcore religious groups to bring them into the movie theatres for this one.  (2011)

***

Sholem Aleichem: Laughing in the Darkness-rm – If you only knew that Solomon Rabinowitz alias Sholem Aleichem had originated the story of Fiddler on the Roof, “that would have been enough.” However this documentary attempts to show how this creative Jewish writer born in Russia in 1860 singularly chose to use Yiddish, which was basically a spoken language of the shtetl and make it a literary form to educate and entertain thousands if not millions of people in Europe and the new world during most of his life time (and beyond). Yiddish was the special language of the Jews consisting of mixture of German, Russian, Hebrew and probably a lot more. It allowed more expression of feelings, especially humor and it was experienced as the language of the people. This fact plus the insight into the struggles and emotions of the people about whom Shloem Aleichem chose to write in a very prolific manner, made his writing very popular. This was the period of time when people living in their small enclaves began to migrate to the cities as well as across the ocean to America. When he died in 1916 there were more than 100,000 people at his funeral in New York which not only was viewed as a tribute to him but as a demonstration of the emerging Jewish culture in the new world.  This documentary while emphasizing his place as a writer and as a Jewish icon also provides some insight into the ups and downs of his life style, which included being a stock market speculator who ultimately failed in his financial dealings. It shows somewhat of a picture of his family life as a dedicated parent although it doesn’t say much about his wife and his marriage.  The visual story is made mostly with archived photos of the people of his time including what seemed to be a repetitive photo of him along with a few video clips- the most riveting being the one from Fiddler. This is an enlightening view of a person about whom so many of us have heard, but don’t really know. If it has not been done yet, a fictionalized version of this story with the details flushed out even more with some imagination, if necessary, will make a fantastic feature film. You can start speculating on who should play the lead. (2011)  

****

The Help-rm   The weekend that we saw this move,  the book on which it is based after 43 weeks reached #1 on the NY Times Best Seller List. Over the past two decades there have only been four books that spent 20 or more weeks on this list before reaching #1. This indicates that there are a good number of the people sitting in movie theatres seeing this picture have probably first read Kathryn Stockett’s 2009 novel. In our case one of us read it and one didn’t although we both easily agreed on the rating of the film. However, when you have read the book, the characters are more richly developed in your mind and you can more easily follow the storyline. This was especially true such as in this case when the movie, which was written and directed by Tate Taylor, does closely follow the book. Therefore at times important points were briefly made or alluded to, therefore a tad confusing or requiring the imagination of the viewer or the memory of the person who read the book. The story takes place in Jackson, Mississippi circa 1961 and shows that life for the black housekeeper-nanny-maid-cook employed by the gentry white families was certainly separate and definitely not equal in any way. Aibileen (magnificently played by Viola Davis) is one such person who raised a number of the white children in the families of the people that she worked for as did her mother and grandmother but yet is not allowed to use the same bathroom. Her best friend Minnie (Octavia Spencer) is treated like dirt by Hilly, the lady of her house ( played by Bryce Dallas Howard who must have done a great job because we detested her) . It is Skeeter (Emma Stone ) fresh out of college at Old Miss and a budding journalist who loved her own nanny/housekeeper  who raised her and is now mysteriously out of the house but seen in flashbacks (CicelyTyson). Skeeter ultimately has to convince a group of black housekeepers to tells their story so she can write “ The Help.” Her own mother (Allsion Janny) fills in the details for one of the most moving vignettes that reveals the fate of Skeeter’s black nanny. The movie is true to the book in providing insight into the underbelly of genteel living in the deep south of this past generation. It keeps it alive through the depiction of believable characters involved in complex relationships within the context of the times. It is a film well worth seeing. The acting could not be better and the story will be etched in your mind. (2011)

***

Thunder Soul – sp- This is a true story destined to be an American legend. An all black 1970’s Texas High School stage band with a music director, who could have been a professional musician but chose to teach and use music to change young people’s lives, becomes the “best band in the land.” They introduce the rhythms of funk music along with great body movements by the band as they present their powerful sound. They win all kinds of competitions and trophies including the coveted band competition in Alabama. They get invited to play in Europe and Japan where they received acclaim on a par with professional musicians. 30 plus years later filmmaker Mark Landsman is listening to NPR and hears the story of this band and decides he might want to make a documentary about them. He visits the now retired leader Conrad O. Johnson, known as Prof, in Houston and convinces him to tell his story as he constructs a documentary about that historical time in the history of of Kashmere High School and this band. Much to his surprise, he then learns that some of the old band members are planning a surprise reunion concert for old Prof who has had failing health. The film becomes about these now older band members who return to prepare for this get together all with heartfelt stories about how the Prof and the band had been so meaningful to them. There are film clips of the 1970s with many of the band members in full Afros and the band with its full rich sound. These mostly guys and some gals are older, wiser, larger but still remember how to play as they are whipped into musical shape by one of the members who has taken on the leadership role for the reunion concert. The views of the musicians now in their 50s along with the wonderful sound which they can still make is captured quite well. In fact the background soundtrack throughout, even when the band is not seen playing, sets the mood and the joy of the film. There are some wonderful clips of Prof as a younger man and now as his once young charges have returned to pay tribute to him. Jamie Foxx loved the film idea and took on the role of Executive Producer. We only wish that Landsman had chosen to tell us a little more about how the returnees had been impacted by their experience, which they all agreed, had changed their lives. Had any of them become professional musicians? Had they passed on this great musical experience to their children? While we suggested to Landsman that it would be great to see a little of this info in the credits, he felt that it was mainly about the music and the personal stories were secondary. He did drop the tidbit that he is working on a fictional version for a feature film, which I am sure, will be a great opportunity to fill in the blanks in this great story. (2011) 

**

Babette’s Feast- nf-  Somebody mentioned to us that we should catch this 1987 Oscar winner for the best foreign that year. While there was a great scene of the preparation of a French meal , this was not a great feast  for us.  Two sisters live in a remote Danish town. They are the daughter of a minister who has captivated the small group of people who live there and follow his religious teachings even  after he has passed on. The sisters Phillippa   (Hanna Stesgaard) and Marina (Viveke Hastrup) each pass up the opportunity to fall in love with a dashing military officer and opera singer respectively and continue to live in their cloistered community.  A persecuted French women comes to live with them as their cook for 14 years until circumstances lead her to prepare them all a wonderful French meal with wine and all the trimmings. The underlying theme is the spirituality or religiosity that allows them to all  hold on to their values and believe they ultimately will be rewarded.  To us it is ultimately a sad commentary on missed opportunities for relationships, love and realizing your full potential as a person. We didn’t find it moving , although the characters were mildly interesting and the acting and direction under Gabriel Axel was top notch. We obviously have missed something here. As we noted it was chosen best foreign film and we usually find that there are some great films made outside the US. (1987)

***

the Freedom- sp– This is a very important film but it is not yet ready for prime time. The version we were shown is not the final cut as the filmmakers Josh and Rebecca Harrell Tickell are still tweaking this film. We hope it will be pared down a little and the message focused and sharpened.  The premise of this documentary is that there need not be a. hopeless dependency on oil in the United States. The answer is that with determination and fortitude, as was shown by our forefathers in the founding of our country and in dealing with so many other crises, we can free ourselves from the ever increasing obligation and desperate need for foreign oil. Furthermore, that we can do this without doing the “drill baby drill “ thing in our own land and water nor do we have to utilize the ever dangerous nuclear power . The film proclaims that we can  solve our energy problems by primarily using ethanol and other biodegradable energy sources. They attack the arguments that experts have made that say that ethanol takes food away from human, emits more greenhouse gases than gasoline. They show that it can even be made from waste and compared to gasoline is cleaner burning and reduces every single tailpipe emission. They make these type of arguments over and over again and use numerous people such as former Republican House Speaker Newt Gingrich, as well as US Secretary of Agriculture, Tom Vilsack and many others.  They make their case that we can do this and that we must do it. So this is an attempt at a strong educational documentary, which basically says we have been misled in this country by the right, the left and mainly by the ever present, ever powerful oil industry. They show how the oil industry argument can be taken apart whether it is made by their expert spokesperson or by a Professor at Cornell who doesn’t really think that Ethanol is the answer. So this is also a call for change, a call for banding together and a call for action. Unfortunately, this is the frustrating part of this movie. Assuming that you buy their argument or most of it, what are we to do? It is fine that we see the filmmakers driving around in their Ethanol burning vehicle. We are briefly told that for $80 we can buy a device for our car that will allow us to use various grades of Ethanol that are now available at some gas stations. This will “probably” be less expensive than regular gas. OK, I want to do it and try it but please tell me more about it and reassure me that it is safe for my car. Let’s start a movement so everyone who sees the film will do this and give us a sticker for our car that says we are part of the new movement (and publicize your film). There is no such energy coming from the film and I couldn’t even find more information about how to do this on their website which at the end of the film said if you want more information go to www.thefreedomfilm.com. The website  has some educational things but is mainly there to  publicize the film . We are also told in the film that we need to grow our own food, use solar energy and this will complement our new use of Ethanol. Jump to their web site – there is no data on joining the new “ Victory Garden Club” movement and no data and charts about costs and savings if we climb aboard with alternate energy. I know this is just a documentary film. It is really one voice against a very strong and persistent voice of the oil industry. However, I feel for the film to be successful it has to fully identify with the movement and try to jump-start the flow to Ethanol, which they claim is essential. For every one person who is moved to action by this movie, they will talk to at least ten people about what they are doing and that is how you get a buzz on the energy front and for this movie.

*****

The Debt-sp – When you start with a plot that has the Israeli mossad tracking down the “Surgeon of Birkenau”  who is in East Berlin working as a fertility gynecologist, you can be pretty sure that you are going to have an exciting movie. Then when you have veteran Academy Award winning actress Helen Mirren  playing the lead along with Jessica Chastain,  an engaging new  actress who has starred in several movies which are coming out over a six month period, it becomes obvious that this is a movie which also deserves your attention. These two outstanding actresses are complimented by Tom Wilkinson, Marton Csokas, Ciaran Hinds and Sam Worthngton  This is a film that will not disappoint. It is thriller with fast action, great tension along with a story that you may think you understand but it will take you for ride and challenge you in an  ethical dilemma which the characters eventually face. Director John Madden expects the audience to be alert and you may miss a few fine points of the plot but in the end you come away still thinking about the story and the repercussions of it. What else can you ask for? (2011)

****

Crazy, Stupid, Love, sp  Dan Fogelman, who wrote Cars and other successful animated movies wrote this well thought out comedy about all too human relationships. He wrote it having  Steve Carell in mind  as Cal , the middle age guy around whom all the actions swirls as his marriage suddenly falls apart. Carell loves the project and decides to produce it with Warner Brothers coming on board to make it a big studio film. The team of Glen Ficarra and John Requa are brought in to direct it. They have been working together since their college days at Pratt in New York City. They have written Bad Santa and  Bad News Bears as well as  recently directing I Love You Phillip Morris with Jim Carrey. After meeting these three talented people at our screening we can see how their chemistry worked for this character driven comedy with a wonderful cast. Ryan Gosling played Jacob, the cool single but obviously complex guy who takes the recently jilted Cal under his wing.  Julianne Moore is Emily, Cal’s wife who is going through what she describes as a mid-life crisis. Emma Stone, Marisa Tomei and Kevin Bacon round out this all star cast with each putting just the right touch on their characters. Special mention should be made about young Jonah Bobo who plays Robbie, the 13 year old son of Cal and Emily whose emotional experience helps all the characters and the audience understand the essence of the movie. The result is not only a funny comedy but a touching story which examines love that  can start as teenagers and sometimes be destined to last a life time with trials and tribulations. It also looks at teenage “love” that may only just feel like love. The story line is close to being brilliant as the characters evolving relationships are charming, touching, surprising and fun to watch as well as being easy to identify with. (2011)