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Politics Politics Feature

Dotting the ā€˜ā€Iā€ in Memphis Politics

JB

Sidney Chism and small fan at last year’s picnic.

Attendees at the Sidney Chism political picnic, held two weekends ago at the usual stomping grounds on Horn Lake, would have observed this scribe doing his annual duty there for several hours, and may have since wondered if and when I would publish an account.

For a variety of reasons, I have delayed posting my observations. I do indeed have some, along with a variety of interesting photographs from the event, and I’ll be putting samples of both online shortly, along with snapshots and notes about other aspects of the recent political season.

There has been what the late poet T. S. Eliot would call an “objective correlative” to my wait on dealing with the picnic. On the day of the event, Saturday, June 21st, I was leaving the picnic when my left foot sank deep into a perfectly disguised hole on the property, a good foot deeper than its surroundings but topped with the same deceptive flow of green grass.

I thought I’d wrenched a knee but was able to walk out on my own, and, since nothing except a little soreness occurred over the next few days, thought I must have gotten off light. Last Thursday night, however, after I’d been to two political events (moderating one), I started feeling punk enough to beg off on a third.

Starting about nine o’clock Thursday and continuing through the weekend, the left knee gave me its delayed constituent reaction, swelling up to double its usual size, hollering at me vigorously through the available nerve circuits and stiffening up so as to make me bed-ridden even before I got doctor’s orders to that effect.

I got the knee drained of fluid and shot with cortisone on Sunday, and that seems to have restored me to the ranks of the ambient. Knock knock.

And, being a respector of what may have been a karmic message, I shall delay no longer in shedding some light on what happened at the picnic (though the balance of my observations will be published in the “Political Beat Blog” online).

The most remarkable single circumstance was the apparent endorsement by host Chism of several candidates — two of them outright: Democratic nominee Deidre Malone and, most vociferously, Sheriff Bill Oldham, the Republican nominee for a position also sought by Democrat Bennie Cobb.

It will be remembered that Chism was actually censured some time back by his Democratic Party mates at a meeting of the party’s executive committee for his support of Oldham. Chism was not bashful about giving Oldham his best shout-out at the picnic, and he — the county commissioner who was given so often to denouncing Republicans as marching always “in lockstep” — was now boasting defiantly about his having “friends” in both parties.

On the congressional scene, Chism gave Ricky Wilkins, the Democratic challenger to incumbent Steve Cohen in the 9th district, what seemed to be at least an indirect nod, allowing (or encouraging) event emcee Leon Gray to introduce the challenger with Wilkins’ own billboard slogan, “our next congressman.”            

• The current congressman, Cohen, was conspicuously absent from the Chism event, but he is making his presence felt in other ways.

Undeniably stung by this past weekend’s announcement of a Wilkins endorsement by the Memphis Police Association, Cohen, who early in his career was the legal adviser to the Memphis Police Department, put on a show of force on Monday, backed by almost a score of union representatives trumpeting their own or the Memphis Labor Council’s endorsement of the incumbent congressman, who has normally enjoyed wall-to-wall support from local  unions.

• For the record, there’s been some feedback about that August 2013 letter (see Politics, June 26th) from Imad Abdullah, the then president of the Ben F. Jones chapter of the National Bar Association (NBA), to chapter members soliciting “attorneys of color” to come forth as candidates in the 2014 judicial election with the goal of running “one member per race.”

There were numerous reactions to the premise of that item — especially from current office-holders irked at having to devote a summer to running against what they consider to be premature or unqualified candidates. One comes from Criminal Court Judge James Beasley (who is himself unopposed in this election) in this week’s Flyer Viewpoint, p. 12.

Another came from David E. McKinney, the current president of the Jones chapter of the NBA. In a letter notable for its courtesy, McKinney insists, “I vehemently reject the notion that this chapter is engaged in endorsing judicial candidates in the upcoming election based upon their race or ethnicity.”

And, indeed, as he and others have pointed out, there has of yet been no slate of endorsees released by the Ben F. Jones chapter. One who has made this point was lawyer/congressional candidate Wilkins, who (with Charles Carpenter) was mentioned as follows in Abdullah’s letter:

“Thus, to keep us on an organized path, we have established a separate committee that is co-chaired by Charles E. Carpenter and Ricky E. Wilkins. This committee has been hard at work establishing a mechanism to reach a consensus candidate for each race.”

Wilkins spoke to the Flyer on Thursday and strongly denied that he had been part of any action to prepare a black candidates’ slate for this year’s election, though he acknowledged he had been briefed in general about plans to interest African-American lawyers in seeking judicial office and had responded with encouragement.

Whatever the case, the number of contested races in this year’s judicial election is reasonably high (though maybe not unprecedentedly so), and it would seem that incumbents, for the most part, are getting the better of it so far — at least in the Memphis Bar Association’s lawyers’ poll of judicial candidates, released on Monday.

(Those recommendations are available online at memphisflyer.com‘s “Political Beat Blog” and will be available in their entirety in future print issues.)

• Note to judicial candidate Alicia Howard, who has asked me for a retraction of my report last week, based on public commentary by former Democratic Chairman Van Turner and on a citation from the state Board of Professional Responsibility regarding her erstwhile suspension: 

It is a matter of record that the board in 2011 gave attorney Howard an 18-month suspension for “signing and notarizing her client’s signature to [a] petition without indicating the client’s permission to do so” and for submitting “applications to the AOC [Administrative Office of the Courts] billing for work not performed.” 

Those two findings were the heart of the case against her and the reason why Howard was cited by the board for seven separate breaches in categories ranging from “truthfulness” to “fairness” to “misconduct.”

Howard objected to my saying that she “was held liable for forging a client’s name to a document without authorization” and for “obtain[ing] payment from the state Administrative Office of the Courts under false pretenses.” I will gladly withdraw that attempt at layman’s summary in favor of the Board’s carefully parsed statements quoted above.

She points out also that she “practiced for over twenty years with absolutely no discipline history,” that she “disagreed with certain findings” and accepted “the harsh nature of the penalty” only after “considering the expense of prolonged litigation and the toll on my family and my personal health.”

Howard also contends that 12 months was lopped off her suspension time and that she was able to resume practice in January 2012.

 

• The Master Meal of the East Shelby County Republican Club, which normally has some out-of-county designate as its featured speaker (past example: former Arkansas Governor/TV host Mike Huckabee) got by on local talent this year — the party’s major county-wide candidates on the August election ballot, plus state GOP chairman Chris Devaney of Nashville.

But that was enough to swell the turnout to several hundred at the Great Hall of Germantown last Tuesday night. Included were candidates galore for other races, including not a few Democrats. An omen for what comes next?

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Cover Feature News

The Wearing of the Green

The short-term peace on Greensward parking negotiated between the Memphis Zoo and the Citizens to Protect Overton Park (CPOP) expired late last month when the last shuttle ran from the Overton Square parking garage to the park. 

Memphis city officials say overflow parking will likely resume on the Greensward. CPOP says it will continue to encourage people to enjoy the Greensward. But continuing the “Get Off Our Lawn” campaign — the peaceful, sit-in style protest — will depend on the continued cooperation of all parties to find a way to keep cars off the grass for good.   

Brandon Dill

Tina Hamilton (left) and her Great Dane, Dominic, relax with Allison Tribo and her dog, Foxy, inside Overton Bark dog park.

The fight for the Overton Park Greensward has cooled somewhat, especially from the tense beginning that threatened the arrest of a CPOP protestor. Now, all involved seem focused on a new, more-distant horizon that promises a long-term solution to the parking problems at Overton Park and the Memphis Zoo. They await proposals for a fix from Memphis City Hall, which are expected in a couple of months. The city’s chief administrative officer, George Little, says he’s agnostic on the solution but that all sides need to have skin in the game.

“My position is when everybody feels like they’ve got something to gain and everybody feels like they’ve got something to lose, that’s when we’re going to see some movement,” Little says. “It’s not going to happen as long as one side is like ‘I’ve got mine, you’re not getting yours.'”

The Opening Salvo

The guy directing cars for parking at the Memphis Zoo pretended not to see Jessica Buttermore. He walked right across the field to her and turned his back, stopping just two feet from her blanket on the grass. He pumped his palm toward his chest until a big, whirring SUV came to a stop just four feet from where Buttermore was reading a book.  

She sat up and gave him a look, but the attendant moved on and so did the people from the SUV. None of them said a word to her or even looked her way. Buttermore remained on her blanket, sitting in bemused disbelief. Did that just happen?

More cars came as the day wore on. By the time Buttermore’s group packed their stuff, they found themselves marooned, an archipelago chain of islands in a dusty sea of parked cars. No one parking cars that day acknowledged the people on the lawn.   

This incident lit the fuse for what has now been a weeks-long fight for the Greensward in Overton Park. 

“It became really clear that the zoo … felt like it was their space,” said Buttermore, chair of CPOP. “They had ownership of it and we had no right to it as members of the public, when, in fact, it is a public space. At that point it became really clear that we have got to really amp this thing up.”

And they did. The day after she and others were ignored by the parking attendants, they showed up with warnings written on big signs: “Don’t Park on Our Park.”

Wind of a bigger, more organized protest planned for the Greensward the following weekend reached City Hall. So that next Saturday, Little rode by on his bike for a first-hand look.

“I felt like I was riding up and down the line in Braveheart,” Little said. “You know when the English and the Scots are on the opposite sides? I felt like I was riding up and down the line. All I needed was a shield to bang on. I mean, really? C’mon. We’re all Memphians.”

Two Sides and the Mayor

Like in Braveheart, people on both sides of the line Little saw that day believe in something bigger than themselves. Unlike most movies, there was no clear good guy or bad guy in the Overton Park parking war. 

Brandon Dill

Pip Borden, 9, enjoys a popsicle during a hot afternoon on the Greensward at Overton Park.

The protestors believe everyone benefits in keeping that corner of Memphis uncluttered and open to any who want a respite from urban life — as it was designed to be by George Kessler in 1901. Zoo officials believe everyone benefits if we allow parking in the Greensward because it helps a top-tier Memphis attraction that educates thousands each year and is a major tourism and economic engine for the city. 

The physical stand-off between the two sides got tense that weekend. Cops were called. But they were called off by Memphis Mayor A C Wharton, who closed the Greensward to parking soon after that weekend. Shuttles were hired to take visitors from the new garage at Overton Square to the zoo, or the park, or the Brooks Museum of Art. It was going to be an uninterrupted, five-week pilot program.

But zoo officials asked Wharton to reopen the Greensward for what was going to be a busy Memorial Day weekend. He did, but only for that weekend. Then, zoo officials asked Wharton to reopen the Greensward for a major corporate event for Toyota that was going to bring in an additional 4,000 visitors to the zoo. He did, but only for that event.   

The Greensward was closed every weekend until the end of June. And Wharton’s administration has been working with all sides to forge a new short-term compromise and to find that long-term solution.

So, passionate factions with claims to the same land? Frustrations coming for all the major players? Clear victories blunted by compromise? A saga that began like Braveheart has become more like Game of Thrones

What is a Greensward?  

The word “Greensward” is foreign to many — even many native Memphians — but it’s the name for the large grassy field that surrounds Rainbow Lake and the new playground on the west side of the Old Forest. It’s 21 acres from end to end and side to side. (FedEx Forum sits on less than 14 acres.)

Brandon Dill

Brian Sanders enjoys a cold drink along with (from left) Elaina Norman, Patricia Duckett, and Kim Duckett as they watch Cedric Burnside Project perform during the free summer concert series at the Levitt Shell in Overton Park.

The Greensward is at the height of its intended use on the first warm days of spring. It’s always bustling with people walking dogs, families having picnics, couples lounging together on blankets, games of Frisbee and hacky sack, drum circles, and more. It’s a large, open, natural area, which is hard to find in Memphis.

The land technically belongs to the city of Memphis. That is, it belongs to everyone in the city and is wide open for them to use it. But the Overton Park Conservancy (OPC) manages the park for the city. So, upkeep on the Greensward falls on them. 

The Memphis Zoological Society has a similar management contract with the city for the 70-acre zoo and the 3,500 animals there. That contract says the city will provide parking, and for more than 20 years, that has meant overflow parking on the Overton Park Greensward.

Memphis Zoo CEO Chuck Brady calls it an “old problem” and says the zoo has been misunderstood on the issue for years, not just during the recent dust-up.

The decision to use the Greensward for overflow parking was made when the city — not the Memphis Zoological Society — managed the Memphis Zoo decades ago, Brady says. A new master plan for the zoo in 1986 called for 1,000 parking spaces to be built in front of the zoo. Neighbors complained, and that number was shrunk to 655, which the zoo has in its front lot now, Brady says. The idea then was that any overflow parking would be put on the Greensward.      

Permanent parking solutions have been proposed twice by the new zoo management, Brady says. One was a new parking deck slated for the east side of the zoo. It was scrapped because it would not best perform its secondary purpose as a floodwater retention basin. 

After that, Brady says zoo officials proposed building a parking lot on the strip of land on the southeast corner of East Parkway and Sam Cooper. The zoo planned to use a tram to cross the street into the park and then into the zoo. Brady said that plan was axed as city officials said they had other plans for the land. 

“I bring these things up because we’ve heard a lot of criticism that we haven’t tried anything,” Brady says. “But we have been trying — not successfully, we can say that — but we’ve definitely been trying to find a permanent solution that’s doable.” 

That’s part of what frustrated Brady when the latest parking controversy began a few weeks ago. But he was more frustrated because he said the zoo and the Overton Park Conservancy were “very close” on a new agreement on parking, an agreement that was scrapped in the wake of protests, shuttles, and the promised new way forward. 

The basics of the agreement would have allowed the zoo to use the Greensward while they work together with OPC to find a long-term solution that would eventually yield the Greensward completely back to the park.  

“The [memorandum of understanding] really outlined how we would work together over the next few years to achieve some short-term and long-term parking solutions,” says OPC Executive Director Tina Sullivan. “There was tacit understanding that OPC needed to work with the zoo on a long-term solution before we took any actions to try to remove them from the Greensward.”

Brandon Dill

Citizens to Preserve Overton Park members (from left) Naomi Van Tol, Stacey Greenberg, and Roy Barnes stand on part of the contested area of the park’s Greensward used for overflow parking by the Memphis Zoo.

Brady says he was taken completely by surprise when Wharton kiboshed Greensward parking in the beginning of the dust-up. It stung to be so close to an agreement and have it dashed and supplanted with ideas that zoo officials thought wouldn’t work.

So, the zoo issued a lengthy news release that shocked many. It accused Wharton of joining with the “protesters’ mission” and said his proposals for a fix would “lead to the demise of the zoo as we know it.”

CPOP’s Buttermore says she couldn’t believe the release made it past the zoo’s public relations department, but she’s glad it did.

“We always tell people we’re not anti-zoo,” she says. “Then this statement went out and — wow — you just did a really big favor for our campaign. We don’t have to go around really being anti-zoo because you just made a bunch of people really mad.”

And it did. Wharton issued a formal statement saying the “tone of the press release was disrespectful and inappropriate,” but he committed to continue working with the zoo and park officials to find a common solution.

“It was a strong response, and I apologized to the mayor that it was personal,” Brady says. “We’re passionate about this zoo. We built this zoo to what it is today. I don’t mean me. I mean this whole organization. We work hard every day.”

New Solutions?

Wading into the land of parking solutions for the park is much like wading into Rainbow Lake to look for something you lost. You know it’s in there somewhere but you can’t see it from the surface. You know finding it will be hard, dirty work. You’re not exactly sure where it is. And you’re not sure what you’ll bump into while you look. 

Wharton outlined three solutions in May. Those solutions are the ones that drew the ire of the zoo officials. 

One idea was the short-term shuttle trial. Depending on who you talk to, the experiment had limited to moderate success. Ridership was lower than expected but some thought the program wasn’t promoted enough or given enough time to catch on. Even Brady agrees that shuttles might be a part of a long-term parking solution for the zoo.

Wharton also opened up the General Services area for free parking to zoo visitors willing to walk through the Old Forest to the zoo. It was originally panned by zoo officials because the 1.2-mile round trip would make the option prohibitive for children, the elderly, or disabled. But zoo employees are now parking in the General Services area, which has freed up about 100 parking spots in zoo lots.

The final idea that came from Wharton in May is the one that likely has the most long-term traction. It’s the most expensive, most permanent, and probably toughest to execute. But it’s the one that has the most support from the city, the zoo, and the conservancy. 

Wharton proposed a $5 million, 400-space parking deck to be built somewhere on zoo property or near the zoo. Zoo officials quickly said a garage needed to be 600 spaces and the cost was likely closer to $12 million. But how big it should be and how much it will cost are almost secondary questions.

Brandon Dill

Childbirth educator Sarah Stockwell (left) talks with Mary Beth Best of Birth Works Doula Services during an event at Overton Park benefiting Postpartum Progress, a nonprofit that supports new mothers with mood or anxiety disorders.

City and zoo officials agree the toughest questions for a garage are: Where will it be built? Who will pay for it?

The easiest and quickest location seems to be the city’s General Services area that fronts East Parkway. But that land has been promised to the backers of a museum devoted to the works of photographer William Eggleston. Little says the city is now in a development deal with that group and that the negotiations pretty much lock up the property. Messing with part of that deal could mess it up completely, Little said, especially when it comes to luring private investors. 

A parking deck could also be located where the zoo’s maintenance facilities now stand. But where would those facilities go? Again, the General Services area could easily stand in but that puts the Eggleston deal at risk.     

A deck could even be built on top of existing zoo parking but that would, of course, take away valuable parking spots. And the deck would have to pass some pretty high design standards to blend into the zoo, the park, and the surrounding neighborhood.

But if a proper site was found and if a design was approved, Little and Brady both balked at financing a garage.

“There’s no way on God’s green earth that this mayor can come in and pledge general obligation bonds to build a zoo garage,” Little says. “You could make a case for the Cooper-Young [garage] deal that there is business activity and yadda, yadda, yadda, But the zoo? Heck, I don’t know if you’d even get five votes [from the Memphis City Council] for that.”

The zoo raised a total of $35 million from private sources for Teton Trek and the coming Zambezi River Hippo Camp exhibits, Brady says.

“But raising money for a parking garage is almost impossible,” he says. “People don’t give dollars for parking garages. Our donors want to see what their gifts do in the community. For example, there will be 60 million to 80 million visitors in the 50-year life of the hippo [exhibit].”  

The Nuclear Option

Little offered up one other solution in a conversation last week. He says it was maybe only one wrung down from a “nuclear option” and to avoid it, park advocates could be spurred toward a compromise: trams running through the Old Forest to shuttle zoo visitors from satellite parking lots. 

“We’ve checked and there’s nothing that precludes it,” Little says. “Is it inconsistent with the [1989] master plan? Maybe. But there’s no prohibition to doing the trams.” 

The idea was abhorrent to Buttermore. CPOP’s biggest recent victory was getting the Old Forest designated as a state natural area, which offers it special protections (against motorized vehicle traffic, among other things, Buttermore says). To them, the Old Forest is the hallowed sanctuary in the park they love, and running a tram through it would, indeed, be the nuclear option, Buttermore says.

“If the city and the zoo are upset about people going out and sitting on the grass on the weekends, people are going to throw a fit [if trams are allowed],” Buttermore says. “So many people run and walk their dogs [in the Old Forest]. The daily users of the road in the Old Forest is probably like 110 times that of the daily users of the Greensward. [The Get Off Our Lawn group] was a small group of protestors. If they ran trams through the Forest, they’d really see a protest.”

Brandon Dill

Poppy Belue, 9, stands up on her father Michael Belue for a better view as they watch Cedric Burnside Project perform during the free summer concert series at the Levitt Shell in Overton Park.

Show Me Yours? 

No matter what happens at Overton Park, it’s pretty clear that all of its residents — the zoo, the park, the Memphis College of Art, The Memphis Brooks Museum — are going to be neighbors for a long time. And as those venues get more popular (as they have in the past few years) then they all need to show each other plans on where they’re headed, says Sullivan.

“I feel we need to consider how we’ll accommodate new visitors as we make improvements to the park and to the zoo as it continues to grow in popularity and it will,” Sullivan says. “We need to be looking ahead,  years down the road, and making sure any improvements we make or plans that we make now are flexible enough to accommodate that future usage.”

Buttemore says it would be as easy as getting all those neighbors together and sharing master plans. 

 

Conserving on Conservancies

The fight for the Greensward is not done, but it has impressed Little with another idea that could affect parks across the city in the future. 

He says conservancies are great on the surface, and he likes the idea of private citizens rallying behind a park to make it better for everyone. But he’s afraid the structure of these public-private partnerships have maybe been too loose and given too much power to the private managers such as OPC. He’s also afraid private groups could end up cherry picking the city’s nicer parks.

“We could turn around one day and all of the prime city assets are under some kind of conservancy,” Little says. “The fact is, these [partnerships] reinforce the idea that ‘this is my park’ as opposed to something that belongs to everybody.”

Sullivan, the OPC’s director, says Little’s idea was “interesting.”

“I would absolutely say that we don’t consider ourselves owners of the park,” Sullivan says. “This is very much a city park and we manage it on behalf of the city and behalf of the citizens of Memphis. So, we’re trying to deliver what those citizens want.” 

Conservancy deals are coming together now for Audubon Park in East Memphis, Little says, and also for Downtown’s Morris Park at the corner of Poplar and Manassas. Decisions on those deals, he says, will be informed by what’s been learned at Overton Park, including the fight for the Greensward. 

Game of Parks, anyone?

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Film Features Film/TV

Indie Memphis screens A Hard Dayā€™s Night

Richard Lester’s noisy, jumpy, compulsively ironic A Hard Day’s Night has played an important part in the Fab Four’s creation myth since its London premiere on July 6, 1964. Like the Beatles themselves, the film is strangely resistant to negative criticism. It has never really gone out of fashion, which is partly why Indie Memphis is screening a great-looking 50th anniversary restoration on Wednesday, July 9th, at Studio on the Square.

This meticulously scripted yet seemingly improvised piece of fanboy and fangirl propaganda seduced critics immediately. The Village Voice‘s Andrew Sarris proclaimed that “A Hard Day’s Night has turned out to be the Citizen Kane of jukebox musicals, the brilliant crystallization of such diverse cultural particles as the pop movie, rock n’ roll, cinéma vérité, the nouvelle vague, free cinema, the affectedly hand-held camera, frenzied cutting, the cult of the sexless subadolescent, the semidocumentary, and studied spontaneity.”

In enthusiastic prose that suggests Sarris was momentarily infected by the same hysteria propelling Night‘s hordes of screaming teenage girls, Sarris also wrote, “My critical theories and preconceptions are all shook up, and I am profoundly grateful to the Beatles for such a pleasurable softening of hardening aesthetic arteries.”

Nearly 40 years later, Roger Ebert’s “Great Movies” essay echoed Sarris’ sentiments while highlighting the film’s continuing influence on pop-culture consumption. “Today,” he wrote, “when we watch TV and see quick cutting, hand-held cameras, interviews conducted on the run with moving targets, quickly intercut snatches of dialogue, music under documentary action and all the other trademarks of the modern style, we are looking at the children of A Hard Day’s Night.” Although countless reality shows and endless infotainment programming have rendered the expressive possibilities of Lester’s sound-image syntheses commonplace clichés, it’s hard to argue with Ebert’s assessment.

Along with Rob Reiner’s This is Spinal Tap, A Hard Day’s Night is the definitive movie about being in a rock-and-roll band — which doesn’t necessarily make it truthful or authentic. In a new essay for the Criterion Collection’s DVD release, Howard Hampton praises the film as a truthful-looking act of calculated image manipulation: “Collective and individual identities — the John-Paul-George-Ringo lunch box and merchandise concession — are worked out and woven through a treadmill environment where the hamsters play satiric havoc with the business of light entertainment and teen merchandising.” However, no amount of cynicism or satire can deflate the first “Can’t Buy Me Love” interlude, where the Beatles jump, scuffle, dance, and collide with each other in an open field like overheated molecules.

Disharmonious voices about the film were seldom heard. They did exist, though; in his 1966 essay “Day of The Lesteroids,” Manny Farber wrote “Lester’s trademark is a kind of thickness of texture which he gets purely with technique, like the blurred, flattened, anonymous, engineering sounds which replace actors’ voices, plus the piling up of finicky details, as in the scene of the Beatle shaving his friend’s image in the mirror.” And remember the guy who once sang “I don’t believe in Beatles,” too. But I don’t want them to spoil the party.

A Hard Day’s Night screens at Malco’s Studio on the Square Wednesday, July 9th, at 7 p.m. and 9 p.m. Tickets are $8.

Categories
Film Features Film/TV

Film Review: Ida

The best thing about Ida is that it is set in the real world. That may seem like a strange reason to get excited about a movie, but at this point in film history, when it’s nearly impossible to distinguish a real animal (or a real person) from the expert handiwork of a team of computer-aided technicians, a shot of an actual cobblestone street in an actual village trumps an Autobot riding a metal dinosaur every time. And I like the Transformers movies.

Director Pawel Pawlikowski, cinematographers Ryszard Lenczweski and Lukasz Zal, production designers Marcel Slawinski and Katarzyna Sobanska-Strzalkowska, and everyone else who contributes to Ida‘s look and feel are so mindful of and sensitive to the place where their story is set that, instead of writing about things like plot and characterization, it seems more useful and helpful to list all the incidental stuff of life caught onscreen that tends to knock the story and its formidable female leads off-course.

Ida

Chickens, peeling paint, snowflakes, dirt roads, morning mist, leafless trees, powerlines, mud, thatched rooftops, staircases, party lights, water, curtains, vinyl records, bottles of vodka, and mounds of dirt are as important as either chapter of this two-part historical drama. The first and longest part concerns a young nun-to-be named Anna (Agata Trzebuchowska), who meets up with her aunt Wanda (Agata Kulesza) shortly before she takes her vows. First, Wanda disorients her niece by saying, “So you’re a Jewish nun.” Second, she tells Anna that her name is actually Ida. Third, Wanda takes Anna/Ida along on a mission to recover the rest of their family history.

Like The Grand Budapest Hotel, Ida is shot in the more box-like 1.37:1 aspect ratio commonly used in movies released prior to the arrival of Cinemascope in 1954. But through careful staging and lighting, Pawlikowski’s shots feel both wider and deeper than conventional, rectangular widescreen imagery. Many shots are designed with subtle textural contrasts and heightened by the tableau-like immobility of a stationary camera recording one or two slowly moving figures. (Ida herself often seems to peek out from the bottom of the frame like a holy tortoise.) One fabulously naturalistic framing follows another, and most of the time the impulse to mock such solemn, planned-out suppleness recedes as soon as it surfaces.

Like fellow indie filmmaker Kelly Reichardt, Pawlikowski is equally interested in the sounds of the world. The film’s close attention to the noises of human activity — whether eating, praying, or exhuming human remains — often impart suspense and a kind of secular grace to the business onscreen.

The big/small, soft/loud, light/dark fluctuations in sound and image gradually start to dramatize the tension between Ida’s spiritual aspirations and her physical existence. In the film’s second movement, Ida decides to explore the world she’s about to give up for life in the convent — an exploration that begins when she hears a young saxophonist’s rendition of John Coltrane’s “Naima” in a hotel bar.

This gorgeous, quietly sexy and autumnal movie about rebirth is one of the summer’s must-see films.

Ida

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Studio on the Square

Categories
Film Features Film/TV

Film Review: Earth to Echo

Earth to Echo might be a Disney movie, but it’s a cool little adventure showing influences from 1980s sci-fi to more recent fare like J.J. Abram’s Super 8.

The movie revolves around best friends Tuck, Munch, and Alex. Tuck, the protagonist played by Brian ‘Astro’ Bradley, is increasingly dismayed at their neighborhood being torn apart after a construction company comes in to build a highway, so he decides to start filming their lives. We see their world through the handheld eyes of Tuck’s many recording devices.

The boys, outcasts at their school, find solace in each other. Alex, played by Teo Halm, is an adopted child of two loving parents who are expecting a baby of their own; he’s brooding just enough to be short of a cliché, but trust issues still come through. Munch (Reese Hartwig) brings the apprehension to the group and the squeaky-clean attitude that prevents him from ever lying.

Two days before everyone in the neighborhood is to evacuate, hopelessness sets in.

“We’re just kids. What can we do?” ponders Tuck.

Soon enough, something weird happens. Their smartphones start what they call “barfing” — weird designs pop up on the screens, making the phones unusable. The boys become convinced that there’s a bigger picture, and everything, including the construction company, is connected.

With some encouragement from Tuck, who’s clinging to anything to make the most of their dwindling time together, they set out to find the source of the dysfunction. Along the way, they pick up Emma (Ella Wahlestedt), a popular girl at school who is tired of the cookie-cutter life she’s lived so far. What they find is truly out of this world: an alien that’s stranded, and it’s up to them to help the little guy.

The CGI is on-point, adding to the film but not totally overtaking it. The alien is reminiscent of Pixar’s Wall-E, rounded and communicating nonverbally and with beeps.

Earth to Echo, aimed at tweens, has a message of empowerment. Here, the kids, armed with cameras and a sense of adventure, figure out what’s going on in their community. It works. The jokes land just right even for the adults in the audience, though some might have a hard time keeping up with the handheld cameras, which sometimes were just fast-moving enough to feel lost.

Earth to Echo is a good film for those parents with older children, particularly ones that might feel helpless with issues in their community. They can see how, despite their age, they can make a difference too.

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Entry #2 in a Summer Movie Journal

Purple Noon (1960; dir. René Clément)—After finishing Patricia Highsmith’s novel The Talented Mr. Ripley last week, I watched Clément’s take on Highsmith’s most famous creation, a handsome young psychopath on a murder-filled European vacation. My most vivid memory of Anthony Minghella’s 1999 adaptation — a brief scene on a boat when Philip Seymour Hoffman started muttering, “Tommy, how’s the peeping? How’s the peeping, Tommy?” at a nosy Matt Damon — is one of my favorite Hoffman moments. (What other actor made inhaling and exhaling so suspenseful?) Apparently the post-WWII Mediterranean was a tourist paradise, and the photography here confirms it; every image is light, bright, and warm, as if to prove Fitzgerald’s point that the very rich are different from you and me. (It also contains a lovely, leisurely stroll through a fish market.) Young and beautiful Alain Delon underplays Tom Ripley throughout in proper Shadow Of A Doubt fashion. And what luck this guy has! Yet in both book and film, Ripley’s close calls and narrow escapes seem unbelievable if not utterly impossible. Then I read an interview with Clément himself, who said “It is impossibility that makes the drama move forward, of course.” But of course. Grade: A-

Meek’s Cutoff (2010; dir. Kelly Reichardt) — I love watching Reichardt’s movies, but I love listening to them, too; her awareness of the mildest sonic fluctuations in weather and animal behavior often supersede the noises her actors make. (Like the saying goes, do not speak unless you can improve the silence.) There’s a quiet pitilessness in her films that’s often expressed through her stoic, frequently stationary camera. She sticks humans in the midst of vast, ageless landscapes to remind them (and us) of their role as tiny ineffectual animals shuffling along on the outskirts of civilization. This existential position is ideally suited to a Western like Meek’s Cutoff. The slow, dangerous progress of a handful of mid-19th century pioneers just off the Oregon Trail proceeds with a cool formality as ritualistic as the folding of a flag. Michelle Williams, as a strong-willed woman in a bonnet and pastel gingham dress, is the star and possibly the voice of reason here. But the shifty trail guide Meek (Bruce Greenwood in heavy mountain-man camouflage) remains unconvinced by her good sense. “We’re all just playing our parts now,” he says. “This was written long before we got here.” Grade: A

Night Moves (2013; dir. Kelly Reichardt) — I don’t want to say too much about this excellent film because there’s still a chance it will open in Memphis this year, but Reichardt’s latest movie, which stars Jesse Eisenberg, Dakota Fanning, and Peter Sarsgaard as a trio of committed environmental activists, is a hushed, open-ended exploration of François Guizot’s claim that “The spirit of revolution, the spirit of insurrection, is a spirit radically opposed to liberty.” But, hey, while you’re waiting for this to arrive, you should check out the 1975 neo-noir with the same title, which was directed by Bonnie And Clyde‘s Arthur Penn. Grade: A-

Emily Blunt in Edge of Tomorrow

Edge of Tomorrow (2014; dir. Doug Liman) — Making video more cinematic seems sort of silly to me. (What is gained when people call video games art?) But movies that start to incorporate elements of video games get my attention. Groundhog Day, Run Lola Run, The Matrix — they all play with flexible realities and multiple “lives,” and they’re all worthwhile. But if that doesn’t interest you, what about this high-concept pitch: Emily Blunt shoots Tom Cruise in the head over and over until he figures out how to save humanity from wicked, nearly indestructible alien invasions. Like Christopher Nolan’s Inception, I respect this movie’s ambitions and tactics a lot even though I don’t love it. I’m a Cruise defender, though, and his performance as Army Private Will Cage (2014’s early favorite for Most Symbolic Character Name) is one of his greatest. As the movie drags on, the physical toll of repeating the same actions over and over (or hearing Bill Paxton’s ravings about the crucible of “glorious combat” one more time) begins seeping into his voice, his face, his sense of self. By dying and restarting for as long as it takes to get the big alien showdown (almost) right, this Dorian Gray movie star finally confronts his own mortality. Plus, it’s laugh-out-loud funny at the most inappropriate times. Favorite line: “Don’t shoot him… again.” Grade: B+

Suspiria (1977; dir. Dario Argento) — I caught a bunch of Mario Bava horror films last autumn, and I really liked last year’s Berberian Sound Studio, which was about an English sound designer sent to work on some Italian horror cheapie about witches at a private school or something. But I waited until I finally bought a Blu-Ray player to fire up this supersaturated chunk of bloody, eerie “Huh?” with the memorable tagline: “The only thing more terrifying than the last 10 minutes of this film are the first 90!” (The numbers change according to edits and international releases.) The somnolent rhythms of the scary bits are part of writer-director Argento’s charm, and they match the dreamy, fairy-tale atmospherics he loves: secret doors, rooms full of barbed wire, hallways covered in pulsating blue or red velvet from the Masque of the Red Death design studio. This is a movie overflowing with weird dialogue that must be shared and put to common use. Top 3, in ascending order: 3) “You can never put too much trust in wolf-hounds”; 2) “Bad luck isn’t brought by broken mirrors but by broken minds”; 1) “You’re going to meet death now!” Grade: B+

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Clue-related Events Preceed Screenings

Was it Mrs. Scarlett in the billiard room with the revolver? Or was it Mrs. Peacock in the kitchen with a lead pipe? Or did Tim Curry just drop in out of nowhere in a butler suit to kill a singing telegram girl? Or could it have been all of the above? To find out, you’ll have to visit the Orpheum on July 10th when Clue screens as a part of the theater’s popular summer film series.

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The John Landis-directed film version of a mystery-based board game was a risky proposition to begin with, and some bad decisions resulted in a box office disaster. In keeping with the spirit of the game, Landis filmed three different endings with three different murderers, but each print that shipped out to theaters featured one outcome, spoiling all the fun. Critics hated it. Audiences stayed home. Then the film was released on home video with all endings stacked up consecutively, and out of a certifiable dud, a cult movie was born.

“It’s my favorite,” says Orpheum Special Projects Coordinator Christina Torres, who has planned a number of Clue-related activities leading up to the screening including a Twitter-based Clue game with prizes for the winners. “Beginning the Monday before the screening, we’ll tweet two clues a day,” Torres says. There will also be an interactive live action Clue game in the Orpheum lobby the night of the show. The Orpheum is also setting up “selfie stations” where fans can take pictures with Clue-related props.

“I told my husband there was no way we were going to have an actual wrench,” Torres says, explaining that she needed to fabricate some of the game’s famous murder weapons. “I don’t want anybody actually getting hit in the head.”

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60th Anniversary of Rock-and-Roll Celebration

Elvis Presley didn’t just walk into Sun Studio fresh off the streets of Memphis and instantly give birth to rock-and-roll. It was his fifth visit to Sam Phillips’ Union Avenue recording service, and his first two attempts of the night were both ballads. Phillips felt the boy’s emotion, but didn’t hear a hit, and he was ready to end the session when Presley relaxed and started goofing off with his guitar, jumping around and playing Arthur Crudup’s “That’s All Right.” The recording equipment was turned back on, and two days later WHBQ DJ Dewey Phillips played the song on the radio. History. So this isn’t just Independence Day weekend, it’s Rock Week, when the whole world turns toward Memphis to salute the 60th anniversary of Elvis’ first full recording session, and all the magic that happens in the meantime, when you’re just goofing off.

Anniversary festivities kick off Friday, July 4th, at 9:45 p.m., with a very Elvis installment of the Mud Island River Park’s Fireworks Spectacular. Sun Studio hosts the official grand opening of its newly installed “60 Years” exhibit Saturday, July 5th, at noon with a ceremony and cake-cutting event. Visitors to Graceland on July 5th will receive a free limited-edition poster featuring a young Elvis Presley with his 1956 Gibson J200 guitar. Graceland is also offering a special VIP tour package exploring Elvis’ transformation from truck driver to megastar.

Later that evening, Elvis bassist Bill Black will be honored at a Levitt Shell concert and with a Brass Note to be placed on the Beale Street Walk of Fame. The free concert showcases contemporary Memphis artists paying homage to Elvis, Booker T. & the MG’s, Sam & Dave, Al Green, the Staples Singers, and more.

If that’s not enough Elvis for you, there are a variety of special tours, and you can always drop in on the Rock ‘n’ Soul Museum’s “60 Years of Rock,” an ongoing timeline exhibit, tracing the history of rock-and-roll beginning, of course, with Elvis, Scotty Moore, and Bill Black’s recording of “That’s All Right.”

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The Battle of Overton Park

Toby Sells chronicles the tortuous recent history and the ongoing battle for space in Overton Park in this week’s Flyer cover story.

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Compromise in City Budget Crisis?

Bruce VanWyngarden says there needs to be some more flexibility in addressing the city’s budget issues.