a very snowy Werner: episode one ....Bruno goes to America and gets eaten by albino crocodiles (aka my review of Stroszek)

Bruno S. goes to America and America gives Bruno S. a shit sandwich. It seems America has been doling out a lot shit sandwiches lately.  Only this sandwich uses German Rye as opposed to Wonderbread and its aged, like a delicious 1977 vintage Gouda.  This is Werner Herzog’s Stroszek, the film concocted in four days for  Bruno Schleinstein (a.k.a Bruno S.), because Werner gave his role in Woyzeck away to Klaus Kinski. But the kicker,  Bruno had already taken holiday from his fork lift warehouse gig.  So Herzog, just doing what any normal human mad genius does, pulled out his hat in less time than it took me to write this review, a melancholic yet charming almost road film-fable that so effortlessly, but not simplistically, examines the illusion of the American Dream.

Bruno S. is a sad sack of man, an artist and musician of the naive strain, who upon release from prison and post a number disparagingly depressing episodes in Berlin sets is his sights on televisions, trailers and a 9 to 5 job in midwest America. In the fashion of doomed, yet endearing protagonists, he finds for himself almost equally as hapless travel companions. One is Bruno’s sweetheart, a very un-street wise recovering lady of a night and the other is his bird companion’s caretaker; an elderly wisp of a man who appears closer to the end of life’s journey, than one who is about to embark on one.

Sure, it sounds like a slit your wrists kind of film, and maybe for some it will be, but you’ll be laughing while your cutting. Herzog, intentionally or unintentionally, I’m never sure which, somehow always manages to make me laugh. Did you see Cave of Forgotten Dreams (2010)? Come on, albino crocodiles!? Crocodiles that can open doors!? 

Maybe Bruno S. is Stroszek’s albino crocodile, or maybe the chickens are the crocodiles? Regardless, Herzog takes a dead stare look at the golden ticket, and like many Americans have been finding out, reveals that its usually just tin foil with a bad paint job.   Stroszek shows us why Herzog was one of the stars of the New German Cinema movement, with a shot of a single captive dancing chicken, he chips away and reveals the deceit of the American dream.

*Spoiler Alert*

By the way the film isn’t about sandwiches and Willy Wonka doesn’t make an appearance.

This is my first of a few (by few I mean like maybe 3 more, I don't want be too ambitious, its just not my style) Werner Herzog related film posts over the winter. I'm calling it "A very snowy Werner". Yeah its a totally cheesy title, but I'm writing about a filmmaker who ends films with albino crocodiles.

Amber's Jambers on films from 2009

Tops of 2009 (thought I had 5, but I only have 4)
1. Fantastic Mr. Fox
2. Inglorious Bastards
3. Where the Wild Things Are
4. Julie and Julia (yeah that's right, Julie and Julia)

Disappointments
1. Avatar
2. Away we go
3. Men Who Stare At Goats
4. Brothers
5. Time Traveler's Wife


Films that I can’t believe I still haven’t seen
1. Moon
2. Polytechnique
3. A Serious Man
4. Brothers Bloom
5. Thirst

Films I can’t believe I sat through
1. Confessions of a Shopaholic
2. He’s Just Not That Into You
3. Bruno
4. 17 Again
5. Paul Blart Mall Cop


2009 Films I’m peeing my pants in anticipation of their arrival in Saskatoon!
1. Antichrist
2. The Road
3. Satisfaction (or whatever title this Miranda July project ends up with)

The film that would be on my best of list if Tyler Baptist would be less militant about release dates
1. Let the Right One In

Maybe there's a little wild animal in all of us?

The Fantastic Mr. Fox (Released November 25th, 2009)
Directed by Wes Anderson
Screenplay by Wes Anderson and Noah Baumbach
Adapted from the novel by Roald Dahl

"I'm a wild animal" and indeed no matter how much Mr. Fox desires to fulfill Mrs. Fox's expectations and by extension that of a middle class existence, he cannot. It is the tug of war between Mr. Fox's true nature and the constant pressure of society which underscores the Fantastic Mr. Fox. At the beginning of the film Mr. and Mrs. Fox (voiced splendidly by George Clooney and Meryl Streep) face an ever familiar crossroads when one is hurled reluctantly from the last tenants of adolescence into adulthood. In the case of Mr. and Mrs. Fox they find their particular crossroads in the form of fox trap at the exit of a squab coop. Felicity Fox chooses this moment of life and death to announce she's got a pup in the oven.

Fast forward some fox years later and we arrive at the familial home (or foxhole) complete with cub, and a reformed Mr. Fox, now a columnist for the local paper. But its hard to take the Vulpes vulpes out of the Vulpes vulpes.
Driven by a need to fill the void left by leaving his passions behind, like much of pre-recession USA, Mr. Fox indulges in the so-called American Dream. He moves the family on up - literally to a bigger, 'better' home (can we afford this? Mrs. Fox asks). Unfortunately, or fortunately depending on your perspective, this new and shiny abode is surrounded on all sides by temptations that are irresistible to Fox of his nature (the bountiful farms of the greedy Bogus, Bunce and Beans). Mr. Fox's need to scratch his itch, puts not only his family but the rest of his furry friends in peril.

This nostalgia influenced stop animation world of cerebral minded foxes, badgers and possums clothed in Parisian style suits is the product of indie auteur Wes Anderson. An adaptation of a novel by another lanky, tall and well suited gentlemen, the late, ingenious British Children's author Roald Dahl. The Anderson - Dahl pairing is a truly 'fantastic' match. Roald Dahl's widow must also have approved, allowing Anderson not only to adapt the book but also to write the screenplay at Dahl's home, the Gypsy house. Its not too much of a stretch to guess Mr. Fox at least in appearance is the combination of the two men. In fact much of the settings are modeled on the author's home and surroundings.

Familial bonds (though strange and strained at times in Anderson's films) are themes that both the filmmaker and author often gravitate towards. Anderson twists the tale slightly with the insertion of Kristofferson (Eric Anderson, yup Wes' bro) the zen like, naturally athletic cousin sent to stay with the Fox's and seemingly disrupt the life of Ash their quirky- malcontent son (voiced by Jason Schwartzman). Ash and Kristofferson play out sibling rivalry of sorts we've seen from Bottle Rocket to Darjeeling Limited. In fact its not hard to (more like impossible not to) imagine the Fox's human counterparts. Mr. Fox is Steve Zissou/Royal Tenenbaum the distracted somewhat absentee father, Etheline Tenenbaum and Felicity Fox could swap places if not for the fur... you get the idea.


When published in 1970 the Fanatistic Mr. Fox was criticized for being anti capitalist, which now is in vogue rather than condemned. Though Anderson changed some of the ending (the book ends with the raid on the goods of the three farmers, Boggis, Bunce and Bean), it stays true to the Dahl's implied criticisms and contempt for social institutions. After many a quivering fox hair, fox tears and family tribulations, Mr. Fox leads his family et. al., to his biggest score and success. They gain entry into that of the Supermarket owned by the three previously mentioned fat cats. The greedy three, Boggis, Bunce and Bean are left to go mad, forever trying to out fox the fox. The moral of this fable, shouldn't be too sly to slide by the adult audience, while the quirky comedy,fantastic cast and marvelous animation will keep the nine to twelves mesmerized.

Arrr! Pirate Radio: a good time on known waters

Pirate Radio (Released November 13, 2009)

Written/Directed By Richard Curtis

Excuse the heavy handed clichés in this review, I found it an impossibility to avoid as Pirate Radio has a nasty case of the cliche -not that this is a criticism. The key to enjoying Pirate Radio is to take it for what it is and not to expect anything more. This is an all boys club rock n’ roll romp on the high seas (or the North Sea in this case) reminiscent of the boarding school genre (women are on the periphery, either they’re lesbians who cook and clean or they’re the weekend booty call). Great superficial good times (this cannot be stressed enough) don’t dive too deep and you’ll enjoy the ride.

Notably, Pirate Radio was released in the UK as The Boat that Rocked, but apparently North American audiences are too darn daft to understand boats and rocking – or maybe the Brits think that we (or at least our friends to the south) fancy ourselves bandits or something of the more unscrupulous nature.

The film is based ever so loosely on British stations that tread in the waters between illegal and legal in the 1960s broadcasting rock n’roll to the UK citizens, whilst the BBC maintained a stiff upper lip refusing to give air time to pop and rock and other such debaucherous sounds. Writer/director Richard Curtis (of the Four weddings and a Funeral/Love Actually) is responsible for bringing us this light fm version of British pop culture history. As always, Curtis delivers a neat and tidy package, stylistically slick and hits all the right notes on the saccharine scale.

Dare I say this is every nerdy music loving boy’s wet dream; the film could be cast from any number of campus community radio stations. The characters are your standard archetypes, but I think this is done with self awareness. How could it not be? Most notably we have Phillip Seymour Hoffman basically reprising Lester Bangs from Almost Famous, Rhys Darby aka Murray of Flight of Conchords,is playing well - Murrary, Bill Nighy as the owner/captain could have with a few minor wardrobe changes stepped off the set of Love Actually and lastly Kenneth Brannaugh plays the evil BBC dude channeling his best comical take on Adolf Hitler, tiny moustache and all.

Floating just below the surface (I can't help myself!) is the subplot of Young Carl (Thom Sturridge) who is sent to stay on his Godfather's boat (or is he really his father?) to try and stay out of trouble (ha!) by his aging socialite mother. As Carl comes of age, so does pirate radio. No longer able to muck around both are forced to face realities of growing up, or going legal. Not exactly subtle, but that's not Richard Curtis’ style. Rock n’ Roll will always emerge victorious; John Peel somehow managed to find an audience on the BBC post his pirate radio run.

As far as music influenced coming of age films Almost Famous this is not and certainly not Pump up the Volume. But if you’re in the mood for escape into the known, check out Pirate Radio.