The Screengrab : aaron hillis

Ladies and Gentlemen, "Ladies and Gentlemen, the Fabulous Stains", Rediscovered Again

Phil Nugent — Wed, 10 Sep 2008 15:00:00 GMT

Aaron Hillis in Spin documents the story behind Ladies and Gentlemen, the Fabulous Stains, the '80s cult item that he terms, with some justice, "the missing link between punk and riot grrl." Stains was the brainchild of Nancy Dowd, who made her bones as a screenwriter in the late 1970s with Slap Shot and Coming Home. Punk was still a going concern when Dowd completed her script (originally called "All Washed Up") about some rebellious teenage girls whose bad attitudes and worse music briefly turn them into stars and role models for disaffected youth. The script fell into the hands of director Lou Adler, who had helped produce the 1967 Monterey International Pop Festival, brought The Rocky Horror Show to America, and then turned filmmaker with the first Cheech and Chong picture, Up in Smoke. Adler may have been looking for a new subculture to milk, but Dowd managed to bring in music journalist Caroline Coon to serve as the film's technical adviser, and the on-screen cast didn't lack for authenticity: Steve Jones and Paul Cook of the Sex Pistols and Paul Simonon of the Clash were brought in to make a raucous noise behind an aspiring punk vocalist played by an unrecognizable, skinny young Ray Winstone, and Fee Waybill of the Tubes contributed a surprisingly moving performance as a has-been metal singer, whose features hang down as if to protest all the make-up he's slathered on them over the years. (According to Waybill, authenticity in many forms kept breaking out all over on the set, and he was usually on the wrong side of it. At one point the rough young Winstone, who was supposed to hit Waybill in a scene, failed to pull his punches and gave his co-star a black eye. On another occasion, an overly helpful prop man substituted the pretend cocaine that the characters were supposed to be snorting with the real thing--"And I hated coke. They cut, and Lou goes, 'Man, that looked so real!' Then we do the same thing from five or six different camera angles. The one and only time I ever snorted coke is on film, and I'm just whacked.") At the center of the movie, though, are Diane Lane, as the leader of the Stains, and Diane Ladd, as one of her bandmates. They were both barely in their mid-teens at the time. (The third Stain, Marin Kanter, disappeared from the movies after appearances in such out-of-the-way pictures as Alan Rudolph's Endangered Species and The Loveless, a fetishistic biker film co-directed by Kathryn Bigelow.)

The movie wrapped shooting in 1980, but a couple of years slipped by while Adler tinkered with it in the editing room. By that time, Dowd had decided to remove her name from the project, in part out of pique over sexist behavior on the set, and the movie's topical moment passed. By the time it started getting previewed in 1982, it looked, as Steve Jones put it, "corny." Without ever getting a proper theatrical release or being released to home video, it spent another three years slipping in and out of a few art theaters, but it really built up its cult reputation through appearances on late night cable TV. By the early 1990s, Courtney Love and such bands as Bikini Kill had taken it to their heart and proclaimed it a valuable training film for women who wanted to know what they could expect to deal with in the music business. Now that music clearances have been worked out, Stains fans have an imminent DVD release to look forward to, and Diane Lane, whose Oscar-nominated performance in 2002's Unfaithful helped cement her current role as a leading thinking person's sex symbol among respected American actresses shading forty, has a lost trinket from her raging youth to use to confuse her kids. "I was freaking out!" she recalls now. "The most poignant irony is that my daughter is going to be exactly the age I was when the DVD comes out. It's not shocking, just a little bit embarrassing that it happens to be your mom." The Spin article is worth checking out, not least because it includes another lost trinket, a "mini-documentary" about the movie that, unless my bleary eyes and bloodshot memory deceive me, is actually a 1999 segment from Split Screen, John Pierson's classic and much-missed indie-film-scene TV newsmagazine show for the IFC Channel. So when's that coming to DVD?

DVD Digest for June 24, 2008

Paul Clark — Tue, 24 Jun 2008 14:00:00 GMT

This week brings the release of several new Criterions, the latest DVD from a blogosphere favorite, and a box-set tribute to a late, great British director.

For many DVD fans, this is the week that Criterion releases Anthony Mann’s The Furies and Milcho Manchevski’s Before the Rain in stories. But while both of these titles are certainly worthy, the new DVD that most interests me this week is actually Zeitgeist’s Derek Jarman Glitterbox, containing four of the maverick filmmaker’s works. The best-known title in the box is his 1986 film Caravaggio, which features early performances from Sean Bean and Jarman friend/frequent collaborator Tilda Swinton. But also justifying the price are 1993’s Wittgenstein and 1985’s The Angelic Conversation, the latter of which is only available in the box set. Finally, there’s the strange case of Blue, Jarman’s final film, also included here. While watching a film that consists entirely of a blue background accompanied by various voiceovers and sound effects, it’s nonetheless a must for Jarman fans, or even those who are curious about his life. Made as he was losing his eyesight due to AIDS-related illness, Blue is almost certainly the closest Jarman came to making a cinematic confession. You may not watch it again and again, but it demands to be seen at least once, and thanks to DVD, now everyone has that opportunity. Of course, if you’re looking for a more upbeat gay-friendly DVD, there’s always Xanadu: Magical Music Edition (Universal).

This week’s most noteworthy new release comes to us from our friends at Benten Films, Matthias Gleisner’s The Free Will. A prizewinner at the 2007 Berlinale, The Free Will tells the story of a convicted sex offender who finds himself struggling with life following his release from prison. The first foreign-language release from Benten, the DVD also includes a commentary by Gleisner and star/co-writer Jürgen Vogel, along with the film’s original theatrical trailer and a new essay on the film by critic David Fear. As always, it’s good to see what the Benten boys (Andrew Grant and Aaron Hillis) have in store for us, and The Free Will should be no exception.

Other notable recent releases coming to DVD this week include Marjane Satrapi’s Persepolis (Sony, also Blu-Ray), which features both French- and English-dubbed versions; Martin McDonagh’s agreeably salty In Bruges (Universal); Ryan Reynolds romancing a trio of hotties in Definitely, Maybe (Universal); Roland Emmerich’s latest assault on storytelling coherence and subtlety 10,000 B.C. (Warner, also Blu-Ray); The Spiderwick Chronicles (Paramount, also Blu-Ray), Hollywood’s latest failed attempt to create a new Potter-like franchise; John Sayles’ barely-released Honeydripper (Universal); and the strident Ferris Bueller wannabe Charlie Bartlett (MGM).

Finally… like surfing? Own a Blu-Ray player? Then we’ve got good news for you, as Step Into Liquid (Lionsgate) receives a Blu-Ray only release this week. Otherwise, if you’re looking for non-recent releases on Blu-Ray this week, I’m afraid you’re rather stuck.

DVD Digest for April 29, 2008

Paul Clark — Tue, 29 Apr 2008 14:00:00 GMT

This week: Criterion caters to the kids, Anthony Mann's final historical epic gets the deluxe treatment, and a pair of critics-turned-DVD-distributors unveil their latest hidden treasure.

DVD of the week: Winning awards at both Cannes and the Oscars in 1956, Albert Lamorisse's The Red Balloon has, in the last fifty years become a short-form classic. It's long been a classroom staple throughout the world, and the film it inspired, Hou Hsiao-hsien's Flight of the Red Balloon is currently playing in limited release to enthusiastic reviews. The Red Balloon makes its DVD premiere this week as the centerpiece of the latest Criterion box set, Three Children's Classics. The set also includes Lamorisse's 1953 short White Mane and William Mason's 1966 film Paddle to the Sea, both of which are also making their DVD debut. At a time when most entertainment geared to kids seems concerned primarily with feeling current, these three films are in the tradition of classic family entertainments that stimulate their imaginations without pandering or condescending. Even if you don't have children of your own, they're well worth buying for yourself.

The week's other classic coming to DVD is the Weinstein Company's release of Anthony Mann's Roman epic The Fall of the Roman Empire, as part of their "Miriam Collection." Produced by super-producer Samuel Bronston, the film was one of the last mega-budgeted historical epics (and box-office flop), and one of the most interesting aspects of the seeing the film is simply to marvel at its sheer largesse. The Weinsteins include a commentary and a number of documentaries on both the "Two Disc Special Edition" and the "Limited Collector's Edition Gift Set," but of primary interest is the film itself. If nothing else, it should be interesting to compare Mann's film to the Oscar-winning Gladiator, which tells much the same story using CGI effects.

On the new-release front, this week brings the DVD debut of Julian Schnabel's acclaimed The Diving Bell and the Butterfly (Buena Vista), which garnered nominations for best director, best adapted screenplay, and best cinematography at last year's Academy Awards. Also of note this week: The Golden Compass (New Line, also Blu-Ray), which is being released in both single- and double-disc editions; Katherine Heigl in 27 Dresses (Fox, also Blu-Ray); and the Denzel Washington-directed and -starring The Great Debaters (The Weinstein Company).

Finally, a shout out to our friends Andrew Grant and Aaron Hillis, critics-turned-proprietors of the upstart distribution shingle Benten Films. For their third release, Grant and Hillis have selected Todd Rohal's Slamdance-winning indie The Guatemalan Handshake. Not content to shine a light into overlooked corners of American independent cinema, Benten seeks to give its releases the first-class treatement, and Guatemalan Handshake arrives this week in a two-disc edition that includes commentary, a music video, behind-the scenes footage, short films, and an essay by filmmaker David Gordon Green. I'm looking forward to checking out the film and all subsequent Benten releases.

DVD Digest for February 5, 2008

Paul Clark — Tue, 05 Feb 2008 15:00:00 GMT

This week: some recent favorites premiere on DVD, numerous classic films arrive in new editions, and I double back to cover a new release we overlooked last week.

DVD Ripoff of the Week: The Assassination of Jesse James by the Coward Robert Ford was one of the best-reviewed films of 2007 and garnered Oscar nominations for Casey Affleck and cinematographer Roger Deakins. However, the film performed well below expectations at the box office, due in no small part to Warner Brothers completely bumbling its theatrical rollout. Due to its low gross and artsy rep, the brainiacs at Warner Home Video will release the film this week in a bare-bones edition. How bare-bones are we talking? Try these features on for size: widescreen, subtitle and language options, and 5.1 audio. And that's all, folks.

Not.

Even.

A.

Trailer.

You know, seems to me the DVD companies have it all backwards. It's mainly the hits that get splashy, extras-packed special editions, when it's the ambitious flops that could really benefit from them. Honestly, does a movie like Pirates of the Caribbean really need a boatload of bonus features to sell more DVDs? I don't think so. But The Assassination of Jesse James might attract more buyers if the DVD had commentary, some interesting featurettes, and so forth. At least the Blu-Ray edition has a documentary. How hard would it have been to put that on the regular DVD as well?

Of course, we know what this release really means: Warner is trying to make some quick bucks from opening-week impulse buyers, with the possibility of a super-sweet edition later on, possibly with Andrew Dominik's cut of the film included as well. Really, it's like they're not even trying to disguise it anymore. It's as though we're back in VHS days, when the studios would release tapes at higher prices to be sold primarily for rental, then lower the prices later on for buyers. The difference is that DVD is much more of a buyers' medium, thus collectors would piss and moan if they had to spend $100 on a new DVD. It's a money-grubbing ploy, but it must be working or else the studios wouldn't keep doing it, right?

Other new releases coming to DVD include: Jodie Foster in Neil Jordan's The Brave One (Warner, also Blu-Ray), Julie Taymor's Beatles-scored folly Across the Universe (Sony, also Blu-Ray), the Cate Blanchett-starring disaster Elizabeth: The Golden Age (Universal, also HD-DVD [!]), the Julie Delpy-directed 2 Days in Paris (Fox), Robert Benton's Feast of Love (MGM), and The Jane Austen Book Club (Sony, also Blu-Ray). Because when I think of the folks who own Blu-Ray players, I think Jane Austen.

No noteworthy classic films coming to DVD for the first time this week, but quite a few new editions of previously released films, including: Midnight Express: 30th Anniversary Edition (Sony), The Apartment Collector's Edition (Universal), The Aristocats Special Edition (Disney), The Wiz: 30th Anniversary Edition (Universal), Tootsie: 25th Anniversary Edition (Sony), and You've Got Mail: The Deluxe Edition (Warner). Fox is also releasing a two-disc set featuring both versions of Imitations of Life, for those of you who crave a Stahl vs. Sirk showdown. In addition, this week sees Blu-Ray only releases of Crimson Tide (Buena Vista), Me, Myself & Irene and Wall Street (both Fox).

Finally, I can't believe I neglected to mention in last week's column the second DVD release from our friends at Benten Films, Quiet City and Dance Party USA: Two Films By Aaron Katz. Founded last year, Benten is a decidedly small operation specializing in non-mainstream fare. Katz's work is a good match for the Benten label- a DIY filmmaker, Katz has been acclaimed by many as the most talented of the director comprising the movement that's usually labeled "mumblecore." With DVD mastering becoming cheaper and more widespread, there are many mom'n'pop DVD operations that have popped up on the scene, but Benten feels special to me, not least because founders Andrew Grant and Aaron Hillis are online cinephiles of long standing. Here's hoping for many successful years for the Benten team.

What It Is: The Mind of Crispin Glover

Peter Smith — Wed, 05 Dec 2007 17:00:00 GMT

Crispin Glover is crazy. If there’s one thing everyone knows about him, it’s that: he’s the guy who made an album of unlistenable noise, who tried to kick David Letterman in the head, who makes intensely non-commercial films like What Is It? and It Is Fine! Everything Is Fine. But I’ve met Crispin Glover and. . . well, he doesn’t seem crazy. He seems extraordinary thoughtful, intelligent and almost deferentially respectful to his coworkers. That’s the way he comes across in this interview with IFC’s Aaron Hillis, who, like me, saw a rough cut of What Is It? over a decade ago. Again, Glover comes across as a man who knows exactly what the practical and psychological costs of his extremely unusual films are, and who is generally at peace with the reputation he knows he’s developed. The oddest thing he does in the interview is forget his age, but he says (with a laugh) "I started in film when I was eighteen, so that's a long time to have been around. I've now published four books, I've had a record out, and I've produced, directed and edited two different films that I'm proud of. It's like, at a certain point, how genuinely insane can someone who's done all that be?" — Leonard Pierce

Jessica Yu's Protagonist

Peter Smith — Fri, 30 Nov 2007 20:00:00 GMT

Jessica Yu's previous documentary feature, In the Realms of the Unreal, did a scarily inventive job of fleshing out the fantasy life of the reclusive "outsider artist" Henry Darger and detailing the lonely existence from which Darger had only his imagination as escape. For her next trick, Yu was offered the job of making a film about one of the great shapers of classical tragedy, Euripides. Yu took them up on it, sort of: her new film Protagonist intercuts between four men as each describes part of the major dramatic arc of his life, according to Euripides' chain-reaction formula of "Provocation" followed by "Opportunity", leading to "Doubt", etc. Yu sifted through hundreds of potential candidates before settling on her four stars. As it happens, the final four included her husband, the writer Mark Salzman, who narrates a hilarious account of his adolescent attempt to transform himself into Caine from Kung Fu. [Also memorably retold in his memoir Lost in Place. — ed.]

The others are Hans-Joachim Klein, a former German terrorist who participated in the 1975 attack on meeting of OPEC leaders in Vienna (and who can also be seen in another current documentary, Barbet Schroeder's Terror's Advocate); Mark Pierpont, who spent years proselytizing for Christianity as a "cure" for homosexuality, using himself as Exhibit A, before he snapped out of it; and Joe Loya, whose rough childhood shaped him into a nihilistic serial bank robber. About the worst thing you can say about the finished film is that, with four good stories split up over the course of its running time, it can leave you a little hungry for more, and in this interview with Aaron Hillis, Yu confirms that she had to cut out a lot of good stuff. (Here's hoping the DVD will make room for some choice deleted scenes.)

One surprise is that, having concentrated on getting the subjects who seemed best suited to her game plan, she found herself making a movie about what seems to be a specifically male form of craziness. She was looking for people who thought they "had to go on this quest where they had lost track of the original idea — we called it the 'Fever' stage — and then that fever needed to be broken by one moment, this dark epiphany, where they realized, 'What am I doing?'. . . It's something you see in drama all the time, in narratives, but it hardly ever happens in real life, yet it seems to have happened to them. The five or six women we found, when things went awry, tended to notice things were falling apart. Then it would go to an end and they would stop what they were doing. But the men seemed to be going full speed and then crash into a wall. That, for many reasons, was what we were looking for: the crash, not things crumbling."

— Phil Nugent