RETRO REVIEW: Pablo Larrain’s Noir-esque NERUDA Takes Us for a Wild Ride and Cuts to the Chase at the Landmark’s Midtown Art Cinema on January 27

Posted on: Jan 26th, 2017 By:

by Melanie Crewposter
Managing Editor

NERUDA (2016); Dir. Pablo Larrain; Starring Luis Gnecco, Gael Garcia Bernal, Mercedes Moran; Opens Friday, January 27 at the Landmark Midtown Art Cinema; Trailer here.

Oscar Award-nominated Director and Producer Pablo Larrain’s NERUDA released to select theatres in December 2016, after screening in the Director’s Fortnight  section at the 2016 Cannes Film Festival and cuts to the chase in Atlanta, January 27, at the Midtown Art Cinema. Larrain [JACKIE (2016)/dir. – His first film in English; THE CLUB (2015)/dir.; NO (2012)/dir.)] has created his niche as a filmmaker stepping outside the typical biopic box and granting his viewers a biting yet intimate and unfamiliar glimpse into the lives of prominent world-known personalities.   

NERUDA, written by Guillermo Calderon [THE CLUB (2015)] lures the viewer into a 1940s noir-ish absurd and fantastical chase into the Chilean political underground which centers on two seemingly opposite characters, Chile’s Communist “traitor,” “People’s Poet” and exiled Nobel Prize-winner Pablo Neruda (Luis Gnecco) and a romanticized straight-laced law enforcer Inspector Oscar Peluchonneau (Gael Garcia Bernal). Although Larrain’s film centers on a small slice of Neruda’s life, he uses Peluchonneau’s dreamy pursuit as a vigorous vehicle to carry the film from opening scene to el fin. Ever the poetic egoist and larger than life Neruda, played effortlessly by Luis Gnecco [Narcos”/TV series (2015); NO (2012)], who exclaims, “This has to become a wild hunt!” And so the viewer is swept away on a wild imaginative goose chase from town to town as the poet gives a collective voice to his suffering Chilean Communist comrades from afar. The thrill of the chase gives Larrain’s “Neruda” ample fodder to champion his cause as he barely escapes the clutches of his mustachioed arch nemesis, played ever so movingly by Gael Garcia Bernal [THE MOTORCYCLE DIARIES (2004); THE LIMITS OF CONTROL (2009); NO (2012)].

Mercedes Moran as Delia del Carril and Luis Gnecco as Neruda

Mercedes Moran as Delia del Carril and Luis Gnecco as Neruda

If Larrain’s objective is for the viewer to feel like they’ve stepped out of a time-machine into 1940s Chile and beyond, his use of antiquated yet absurdly fun film techniques unquestionably serves its purpose. His use of rear-projection during the car chase scenes for example is reminiscent of gangster and noir films of that time. Further, his unique visual style, utilized in his other works [THE CLUB (2015)] is characterized by blue and purple hues setting this story apart from the plethora of over-digitalized films that lack a distinct atmosphere, a distinct tone. Nevertheless, the genuine focus, the pure genius of NERUDA, is the cat-and-mouse chase narrative reminiscent of the film’s era, and more precisely the story that unfolds within the story. Larrain’s utilization of a mere snippet of Neruda’s flight from Chile’s brutal anti-communist crackdown constructs a vivid painting of the internal battle within a very self-aware and assured protagonist, the “People’s Poet.” In complete contrast to Neruda is Peluchonneau as the insecure, naïve and self-doubting narrator and antagonist. Calderon’s ability to depict both characters as completely separate entities with opposing personalities who could easily meld into one distinct being should one desire, gives the film a depth of character unlike most in the genre.

Gnecco

Gnecco

Whether you are a fan of Pablo Neruda, noir, or one who delves deeply into the land of nostalgic filmmaking, NERUDA is a film well worth checking out. Larrain dishes out an unexpected tale filled to the brim with intrigue, ambiguity and a genuine love for his characters. It is highly recommended that you catch this beautifully crafted piece of cinema, featuring standout performances, in the cinema. As Larrain conveyed to DEADLINE’s Nancy Tartaglione, “It’s less a movie about Pablo Neruda than it is like to going to his house and playing with his toys.” (Dec. 2016)

Gael Garcia Bernal as Oscar Peluchonneau

Gael Garcia Bernal as Oscar Peluchonneau

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Retro Review: Darkness in Daylight: The Plaza Theatre Descends into Alfred Hitchcock’s VERTIGO

Posted on: Nov 19th, 2012 By:

VERTIGO (1958); Dir: Alfred Hitchcock; Starring James Stewart, Kim Novak and Barbara Bel Geddes; Fri. Nov. 23 – Sun. Nov. 25; Plaza Theatre (visit Plaza Theatre Website for showtimes and ticket prices); Trailer here.

If the film noir is defined by its most typical set-up—that of a doomed man swept up in events outside his control, often by a manipulative female figure—then Alfred Hitchcock’s towering VERTIGO is that most rare of films noir. It trades the genre’s high-contrast black-and-white for rich Technicolor. It places its characters not in the dimly-lit nightshade world of seedy bars, backrooms and private dicks’ offices; but in art museums, redwoods forests and the sunny streets of San Francisco. In the world of VERTIGO, the shadows of night may still hold mysterious threats, but the stark light of day reveals their constant presence all too clearly. There is, truly, no escape.

In this film, James Stewart paired with Hitchcock for their final collaboration. Stewart had long been one of Hitch’s archetypal actors. Whereas Cary Grant represented the Idealized Man in his cinematic world, Stewart was the Everyman. Grant was the go-to guy when Hitch needed a lead that viewers would either want to be or want to bed. Stewart was the guy next door, bringing a down-to-earth sensibility to his roles, and much of the attraction of him as a lead in Hitch’s films was in seeing this average Joe rise above his limitations to triumph at the end.

In VERTIGO, however, Stewart’s average Joe is taken far away from next door; his obsessions and fears exposed as he is broken beyond repair.

Stewart stars as former police detective John “Scottie” Ferguson, whose vertigo and fear of heights manifest in a rooftop police chase and result in the death of a fellow officer. Stricken by depression, he has retired from the force and struggles to overcome his fears. He is enlisted by an old college acquaintance, Gavin Elster, to trail his wife Madeleine (Kim Novak), whom he claims has been possessed by the spirit of the long-dead suicide victim Carlotta Valdes. Scottie witnesses Madeleine attempt to kill herself by jumping into San Francisco Bay and rescues her. They then become ensnared in an obsessive and doomed romance that can only result in death, a break with sanity, or both…

James Stewart and Kim Novak in VERTIGO. Paramount Pictures, 1958.

Kim Novak perfectly essays the role of a most unusual femme fatale: manipulative without being forceful, cool and reserved yet with a barely-concealed sexuality, strong yet fragile. However, Barbara Bel Geddes (whom viewers would later come to know as “Miss Ellie” Ewing on the TV series DALLAS) is perhaps the most overlooked character in the film: Scottie’s long-suffering ex-girlfriend Midge, a bohemian clothing designer, who represents the polar opposite of Madeleine. Where Madeleine is cool, Midge is warm. Where Madeleine is perfectly poised and elegant, Midge is natural and almost frumpily grounded. And where Madeleine represents everything that will tear down Scottie, Midge represents that lost potential for true happiness. Madeleine may be an impossible ideal, but Midge is real, there, now. And her love and devotion to Scottie may be the only path for his salvation, but how can he see that path with the dream that is Madeleine beckoning him from just beyond his reach?

The film was a critical and commercial failure upon release. Some felt it was too long and too complicated for a simple psychological mystery. Hitchcock believed that James Stewart’s age was a factor in the film’s failure, and replaced him with Cary Grant in the following year’s NORTH BY NORTHWEST (four years older than Stewart, true, but eternally youthful). Many, however, were disappointed that this movie was not another romantic mystery along the lines of 1956’s THE MAN WHO KNEW TOO MUCH. In fact, the mystery is practically subservient to the film’s depiction of obsession—it’s solved two thirds of the way through the movie. Hitchcock often referenced the term “MacGuffin”: the mechanical element that sets a story into motion, yet which is ultimately unimportant to the plot’s progression. In John Huston’s 1941 film THE MALTESE FALCON, for instance, it’s the titular sculpture. In NORTH BY NORTHWEST, it’s a cache of microfilm. In the case of VERTIGO, it’s the mystery itself. The whys and wherefores of how Scottie has become obsessed with Madeleine are not important; his fears and obsessions are, instead, the focal point, and how they emerge and re-emerge during the course of the story are what carries us along the inevitable path to the film’s particularly noir conclusion.

However it was dismissed in the past, in more recent years VERTIGO has been reevaluated. Beginning with Robin Wood’s seminal 1965 work HITCHCOCK’S FILMS, critics have paid closer attention to the film and what it attempts to accomplish. Many have come to regard the film in retrospect as Hitch’s most personal work: a fully-realized exploration of his own obsession with a particular “type” of woman, embodied in Grace Kelly, and his need to craft the images of his actresses to fit this particular model. This was an obsession, as depicted in Donald Spoto’s THE DARK SIDE OF GENIUS and the HBO original film THE GIRL, which would be ultimately destructive to his professional relationships with women. But despite the speculative personal aspect of VERTIGO, most have come to realize that as a film on its own merits, that it stands as a masterpiece. Indeed, it has topped the British Film Institute’s 2012 Sight & Sound critic’s poll as the greatest film ever made.

VERTIGO’s relative failure at the time meant that preservation wasn’t as much of an issue. Thankfully, the film was meticulously restored by film historian Robert A. Harris and his team, using materials ranging from the original camera negatives (which Harris notes “looked hideous”), to damaged black-and-white color separation masters, to fuzzy film prints as many as eight generations removed from the original negatives. Using all of the materials at their disposal (including a preserved green paint sample from a model of car featured in the film which was utilized for color timing), Harris and company worked miracles, producing an almost immaculate presentation of what many consider Hitchcock’s true masterpiece.

To see such an important film, preserved and restored so well, presented on the big screen is a treat to be savored by any film fan, whether casual or hardcore. And this treat is available at the Plaza Theatre for one weekend only. Some things simply should not be missed. Don’t let this one pass you by.

Aleck Bennett is a writer, blogger, pug warden, pop culture enthusiast, raconteur and bon vivant from the greater Atlanta area. Visit his blog at doctorsardonicus.wordpress.com

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One Spellbound Evening: Chad Sanborn Conjures Film Noir Magic for Mon Cherie’s Burlesque with a Hitch

Posted on: Aug 11th, 2011 By:

Magician Chad Sanborn is one of the many talented local and regional performers in BURLESQUE WITH A HITCH Sat. Aug. 13 at Masquerade. Photo courtesy of Chad Sanborn.

Legendary film director Alfred Hitchcock has been dubbed the “Master of Suspense,” but suspense also is the key ingredient to a great burlesque act – the tantalizing tease which has you wondering when she’s going to take it off. Leave it to Mon Cherie to have the genius to put the two together for one of the more innovative burlesque pairings in the local scene this year. In BURLESQUE WITH A HITCH, the latest in her Va-Va-Voom series at Masquerade this Sat. Aug. 13 (doors at 9 p.m.), each act will be based on a different Hitchcock film. Alabaster JuJu stars, with master of suspense and mystery Miss Mason hosting, and the line-up of top local and regional performers includes aerialist extraordinaire Sadie Hawkins (Blast-Off Burlesque)Rebecca DeShon (Hoop Essence)Stormy Knight, Fonda Lingue, Evil Sarah, The Chameleon Queen, Katarina Laveaux (Birmingham, AL), Nicolette Tesla (Charlotte, NC), and Peachz de Vine (Greensboro, NC). Before and after, DJ 313 spins alternative dance, Allison Kellar offers body-painting, and there’s also the usual RAWKIN’ RAFFLE with lots of vintage-inspired vendors donating prizes. Cover is a bargain 5 bucks, and doors open at 9 p.m., with all proceeding helping cancer patient Shawn Brown.

Of course, suspense is also the key to a successful magic trick, and all great burlesque and vaudeville shows have to have a magician. For BURLESQUE WITH A HITCH, we think Mon Cherie couldn’t have picked less of a “Wrong Man” than Chad Sanborn, who, outfitted like a ’40s noir detective complete with fedora, sets up his tricks like a crime to be solved. ATLRetro caught up with Chad to find out why he adopted his signature style, as well as gather a few clues about his Sat. night act and his other projects, including movie and TV roles and HOUDINI: DOG MAGICIAN commercials for The Cartoon Network. And Just Added: Chad sent us a short rehearsal clip for his Saturday night trick. Watch it here.

ATLRetro: How old were you when you started performing magic, and is there any fun story about that?

Chad Sanborn: I started performing, if you could call it that back then, when I was just a kid. I’d say about 8 years old. David Copperfield would do a yearly television special. Those have inspired me greatly. When you are starting in magic, your family and friends are your guinea pigs. Mostly they are cordial and say “that’s nice,” whether you fooled them or not. Then there is my grandmother…ugh. She would tell me the truth. And it hurt. “It’s in the other hand,” “there is a string on it,” etc. What’s worse is that she would holler it out right in the middle of the show! I hated that. Mostly because she was right. Now I see that honest criticism as a good thing. It lets me know what works and what doesn’t. Positive feedback is good for the ego, but honest feedback is good for the show. It’s been tough, but I have learned to set my ego aside and do what’s best for the magic.

Photo courtesy of Chad Sanborn.

You’ve adopted a noir ‘30s/’40s Humphrey Bogart/James Cagney look instead of the top hat, tux and cape that magicians traditionally have worn. How did that come about?

Well I learned magic from old books I got from the library. They would preach about bringing your own personality into each trick. Are you funny, clever, sexy, goofy? Whatever you were, they said you should inject that into the presentation of the tricks. So who was I? That’s tough to answer at 8 years old. Heck, its tough to answer at 38 years old. As I got older, I realized that I liked vintage things -1900s-1950s clothing, music, vaudeville, etc. Everything. So it was only natural to bring those elements into the magic. I emulated Bogart because he was tops in his field. So now I wear a vintage suit and tie with a fedora and spectator shoes, instead of a tux, top hat and cape. Though I do own a tux made in 1942!

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This Week in Retro Atlanta, July 25-31, 2011

Posted on: Jul 25th, 2011 By:

Monday July 25

From 3 PM on, savor tropical sounds and libations, as well as a Polynesian dinner during Mai Tai Monday at Smith’s Olde BarKingsized and Tongo Hiti lead singer Big Mike Geier is Monday night’s celebrity bartender at Sister Louisa’s Church of the Living Room and Ping Pong ParlorNorthside Tavern hosts its weekly Blues Jam.

Tuesday July 26

What’s in a name? Catchy coolness if you’re self-styled D.I.Y. rock ‘n’ roll band Swank Sinatra, playing tonight at Smith’s Olde Bar. Although their sound, fury and lyrics are inspired by Frank than “homeless people, pirates, ladies, shoes, ships, our hate of disco and breakfast.” Minor Stars and Kevin Dunbar Band open. Grab your horn and head to Twain’s in Decatur for a Joe Gransden jazz jam session starting at 9 PM. JT Speed plays the blues at Fat Matt’s Rib Shack. Notorious DJ Romeo Cologne spins the best ‘70s funk and disco at 10 High in Virginia-Highland. Catch Tues. Retro in the Metro nights at Midtown’s Deadwood Saloon, featuring video mixes of ’80s, ’90s, and 2Ks hits.

Wednesday  July 27

The Temptations and The Four Tops make it a mini-Motown reunion at Classic Chastain tonight. Get ready to rumba, cha-cha and jitterbug at the weekly Swing Night at Graveyard TavernDeacon Brandon Reeves bring the blues to Fat Matt’s Rib Shack and Danny “Mudcat” Dudeck blues it down at Northside Tavernrespectively. Dance to ‘70s, ‘80s and ‘90s hits during Retro in the Metro Wednesdayspresented by Godiva Vodka, at Pub 71 in Brookhaven.

Thursday  July 28

It’s a cinematic night of pure (& twisted) imagination for the whole family as The Atlanta Opera screens classic 1971 movie WILLY WONKA AND THE CHOCOLATE FACTORY starring Gene Wilder at The Atlanta Opera Center (1575 Northside Drive, NW, Bldg 300, Suite 350, Atlanta, GA 30318). Attendees may win two (golden?) tickets to the company’s production of THE GOLDEN TICKET, also based on the Roald Dahl novel, in March, 2012.

Henry Porter, named after a legendary Dylan quote, bring their Western swing on DMT to Kathmandu Restaurant & Grill in Clarkston. Or is that post-rock mindset with 70’s AOR hooks? Or songs that Iggy Pop might could sing? Or the Eagles with credibility? Or CCR meets XTC? Heck if they even know for sure, but you can find out for free and eat some tasty Asian vittles at the same time.

Classic Tulsa Sound piano man Leon Russell opens for legendary folk rocker Bob Dylan at Chastain Park Amphitheatre. Go Retro-Polynesian to Tongo Hiti’s luxurious live lounge sounds, as well as some trippy takes on iconic pop songs, just about every Thursday night at Trader Vic’s. Party ‘70s style with DJ Romeo Cologne at Aurum LoungeBreeze King and Chickenshack bring on the blues respectively at Northside Tavern and Fat Matt’s Rib Shack.Bluegrass Thursday at Red Light Cafe features The Burning Angels.

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