Reviews of albums, films, concerts, and more from the Bay Area Music and Movie Nerds
The 34th annual Frameline LGBT Film Festival, which remains the largest of its kind in the world, will take place in San Francisco from June 17-27. Packed into those eleven days will be hundreds of narrative films, documentaries, and shorts covering nearly every conceivable angle of the LGBT experience from just about every corner of the globe. After the jump, Spinning Platters helps you narrow it all down by picking three films from each of four main categories.
Although I knew nothing about the silent film 20,000 Leagues Under the Sea, I had high expectations for this evening, all of which were piled on Stephin Merritt’s shoulders. His amazing ability to craft the perfect quirky pop song seemed well suited to the project: creating a live score to a silent film. This is a mainstay of the San Francisco International Film Festival, after last year’s The Lost World with Dengue Fever, and I’m very happy it is. It is a great opportunity for a songwriter/composer to showcase his song-craft and experiment, but composing almost 2 hours of music that will enhance someone else’s work? It’s a tall order for even the most talented and interesting songwriter. Continue reading “SFIFF Film Review: 20,000 Leagues Under the Sea with Stephin Merritt at Castro Theater, 5/4/10”
Of all the movies playing at the San Francisco International Film Festival Jalsaghar (The Music Room) was what I wanted to see most.
An Indian film from 1958 that has been recently restored is not your usual popcorn popping movie. It’s more of a privilege to see and everything about my experience was just that. Continue reading “The Music Room SF International Film Festival”
The 53rd annual San Francisco International Film Festival concluded last night, thus ending this year’s edition of one of our fair cities’ most enduring and enriching cinematic traditions. After the jump, I’ll recap some of the festival’s highlights, ranging from Serge Gainsbourg lookalikes and Tilda Swinton speaking Italian, to James Schamus dismissing Brokeback Mountain enthusiasts and Jason Reitman teaching Terry Zwigoff how to be a douchebag.
Continue reading “SFIFF in Review: Roger Ebert, James Schamus, and Other Highlights”
“Coco Chanel and Igor Stravinsky” twists the worlds of fashion, art, music and society together. It screams about the new-ness inherent in the early 20th century: in music, in fashion, and in people’s relationships. The film depicts the couple’s passionate affair along with what is billed (by the film) as each of their greatest works: Stravinsky’s ballet “The Rite of Sping” or “Le Sacre du Printemps” and Coco Chanel’s iconic fragrance Chanel No. 5. In this day and age where music and fashion are so intertwined the film successfully takes you into the world of 1920’s Paris where this was far from the truth. Coco Chanel is the unlikely patron here, bringing Igor Stravinsky into her world with money, and with that relationship forged, the pair change each other’s art and direction. Continue reading “SFIFF Film Review: “Coco Chanel and Igor Stravinsky””
Rejoice and Shout, the latest music documentary from director Don McGlynn (The Howlin’ Wolf Story, Somewhere Over The Rainbow: Harold Arlen, and many more) is the most thoroughly researched and exhaustive film about African-American gospel music ever committed to film. In telling the story of gospel in America, it simultaneously mirrors the entire narrative of the African-American experience, beginning with slavery and ending with the election of the nation’s first black president. It is an ambitious undertaking, and for the most part, it is successful.
“This isn’t about women’s lib,” crows Kim Fowley (Michael Shannon) in The Runaways, the feature-length debut from renowned music video director Floria Sigismondi. “This is about women’s libidos.” See what he did there? But this quote gets to the paradoxical high-wire act at the heart of this film: lib or libido? Empowerment or exploitation? A film that opens with a close-up of Dakota Fanning’s first drops of menstrual blood hitting the L.A. pavement could go either way.
Following the release of their 2007 album, Icky Thump, Jack and Meg White prepared for two simultaneous landmarks in their storied career: their tenth anniversary as a band, and their first extensive promotional tour of Canada’s many provinces and territories. They invited acclaimed music video director Emmett Malloy to accompany them on this excursion, capturing every moment along the way. The ensuing hybrid of aww-shucks Canadian culture shocks and feverish self-aggrandizement comprises The White Stripes: Under Great White Northern Lights.
Continue reading “Film Review — The White Stripes: Under Great White Northern Lights”
The film Strange Powers, Stephin Merritt and The Magnetic Fields opens with Stephin Merritt being interviewed by one of the directors. She asks “What are you reading now?” and the question is greeted with a dark stare and stony silence. This is how genuine the film is in its portrayal of this iconic songwriter, which is demonstrated in the Q & A after the movie. Stephin Merritt doesn’t waste words. Much like his song lyrics, his responses are concise and thought out. The good news is, for the most part, so is the film. Continue reading “Noise Pop Film Review: Strange Powers Stephin Merritt and The Magnetic Fields at The Mezzanine, 2/28/10”
The Anvil Experience at Slim’s promised a preview screening of the documentary Anvil! The Story of Anvil followed by a live performance by the band itself. I figured this was going to the best possible way to see this movie, so off I went.
I’d be lying if I said I were familiar with Anvil. Their name sounds familiar, but it’s so generic, it would sound familiar to anyone, I’d imagine. They are a Canadian metal band that’s been playing together since 1978, and although they were influence on a few more famous bands, they never found success themselves. Thirty years later, they still play together and try to make their rock and roll dreams come through. The band goes on a comically bad tour of Europe, tries to get a record deal, and just try to keep themselves together as a band.
I’ve seen interviews where the band’s leader “Lips” does not like comparisons to This Is Spinal Tap, but here comes some. And if he has anyone to blame, it’s the director. There are some spoilers in the next bullet points, both for Anvil! and This Is Spinal Tap, so be warned. Continue reading “The Anvil Experience at Slim’s 4/12/2009”