I like asking – if your life required narration, who would you want to provide it? No one has ever chosen Tom Waits, which is too bad because he does have a great voice. I like the idea that Tom Waits’s voice is a natural starting point for this micro-portrait of artist John Baldessari. It’s an entertaining short, full of wry humour and clever edits and Looney Tunes momentum thanks to its classical score. This is me enjoying A Brief History of John Baldessari (Henry Joost and Ariel Schulman, 2012).
Very much in the same vein is Ed Ruscha: Building and Words (Felipe Lima, 2016), another micro-portrait of another California artist narrated by another celebrity. This time it’s Owen Wilson, and while he’s no Tom Waits, he has pretty good voice for this too. I wouldn’t second guess anyone choosing him to narrate their life. Lima’s short takes a similarly machine gun approach to surveying the artist’s vast catalogue, and expands the talking head count along the way. It’s all enough to make you move to California and start exploring the artistic possibilities of label makers, road paint, or portraits of diner specials.
The Criterion Collection, a continuing series of important classic and contemporary films presents Thirty Two Short Films About Glenn Gould.
François Girard provides in this unconventional bio-pic a compelling and memorable exploration of Canadian musician Glenn Gould, arguably the 20th Century’s greatest classical pianist. Through thirty-two elegantly constructed vignettes mixing drama, documentary, animation, and avant-garde, Girard reveals glimpses of Gould as performer, recording artist, humorist, outdoorsman, speculator, recluse, and iconoclast. Taken together, Thirty Two Short Films About Glenn Gould offers a prismatic understanding of Gould’s complex genius and his personal struggles without dispelling the enigmatic power of his legend.
Anyone who’s seen my Letterboxd account knows I’m a big fan of ESPN’s 30 for 30 documentaries. I’ve also alluded here at MMC! to my wife’s love of running. With that in mind, I thought I’d get 2017 off on the right foot with Gabe Spitzer’s Every Day (2015), a portrait of elderly runner Joy Johnson that I saw for the first time this week and left both me and my wife teary-eyed by its end. Johnson didn’t begin running until age 59 but became an accomplished distance runner nonetheless, completing numerous races at various distances, running the New York City Marathon 25 consecutive times, posting a best time at NYC in 1999 at 3:55:30 while age 73, and even running the Twin Cities Marathon and New York City Marathon just 4 weeks apart at the age of 81. Watching Joy should offer some ambition in facing 2017.
Merry Christmas Eve!
With the holiday season in mind, enjoy this short made for The Candid Eye documentary series recounting Christmas preparations in Montreal, Canada. The Days Before Christmas (Stanley Jackson, Wolf Koenig and Terence Macartney-Filgate, 1958) has everything you’d expect from the Christmas season and more – department store Santas and anxious children, choir practices, recitals, and Christmas pageants, holiday travellers and long-distance calls home, smoky nightclubs and lively jazz acts, cab drivers, traffic cops, and Brink’s guards with pistols drawn.
And to all those wonderful readers who arrive here regularly or stumble into MMC! accidentally, happy holidays and the best of the season to you! Enjoy yourselves, stay safe, and keep those titles in order of spine number!
Charlie Lyne’s wonderful work of montage-documentary Copycat (2015) tells the story of Rolfe Kanefsky’s There’s Nothing Out There (1991), a self-aware horror-comedy made by the 19 year-old filmmaker for $100,000. You may not have seen this pioneering cult classic-neverwas … or maybe you have and you just don’t know it.
Day 3 put generational conflict at the forefront of the SFFF and the kids were far from alright. It also marked the Festival’s greatest distance from the horror genre, moving into the rock-doc, the coming of age film, and whatever kind of trash bag meltdown The Greasy Strangler may be. That’s no criticism of Jim Hosking’s film; just a statement of fact. We’ll get to 2016’s most notorious film soon enough, but first things first…