By Stephanie Zacharek
By Alan Scherstuhl
By Alan Scherstuhl
By Charles Taylor
By Melissa Anderson
By Inkoo Kang
By Amy Nicholson
By Sam Weisberg
In Christopher Münch's The Sleepy Time Gal, a middle-aged woman's cancer diagnosis spurs attempts at resolution and reconciliation. But where most films about terminal illness hang a millstone of lesson-learning on the dying and their loved ones, Münch's rarefied elegy depicts a more matter-of-fact and expansive preparation for death. The film's working title, Backward Looks, Far Corners, perfectly summarizes its methodology and subject. From the dull, surreal ache of mortal awareness emerges a radiant character portrait, one undaunted by the bulky proportions of biography or by the contrary particulars of a willful, eccentric woman's cruelly truncated lifeabundant in both bliss and agony, marked equally by snatched opportunities and lingering regrets.
Münch's luminous protagonist, Frances (Jacqueline Bisset), comes into focus via diffuse details: her youth as a late-night radio DJ (whose on-air persona provides the title), her devotion to social causes (undercompensated work that now leaves her struggling to pay her bills, though the filmor at least Francesasserts the value of intellectual stimulation over economic independence), her eclectic interests (the Revolutionary War, Christian Science), the many hearts she broke along the way. Sufficiently unsentimental to understand that some loose ends are beyond recall, Frances is also hard enough on herself to view proximity to death as an index of failure. In the midst of a hot-air balloon ride, she wonders, "What's life but a shitload of missed chances?" The rhetorical question is directed at former lover Bob (Seymour Cassell), the father of the baby girl she gave up for adoption years ago, and Münch doesn't hesitate to assign him an alternate definition: "Hope realized. People loving people. A recognition of shared destiny. A willingness to move with things."
On the page, lines like these may creak with a declamatory stiffness, but in context, they're hardly ever incongruous. Münch's characters are given to a certain rapt, unwieldy thoughtfulness, and accordingly, his films cultivate a mood of almost trancelike introspection. When Frances's daughter, Rebecca, grown into a brittle, somewhat pinched lawyer (played with furrowed brow by Martha Plimpton), travels to Florida to administer a radio station takeover, she befriends the smooth-talking owner (Frankie Faison), who, unbeknownst to her, was once romantically involved with her birth mother. The two share an amusement-park ride that echoes Frances and Bob's private airborne reverie. She confides, "I can't help but think there are so many things I haven't done." (He calls her an overachiever with a premature midlife crisis, and sets about seducing her.) Later, an exasperated Frances tells her son Morgan (Nick Stahl), a budding photographer, "The life you lived isn't always the life you hoped for." As in Münch's first two films, the speculative Lennon-Epstein chamber piece, The Hours and Times, and the railroad preservation allegory, Color of a Brisk and Leaping Day, the most powerful undercurrents are impossible expectations and thwarted desires.
The Mad Songs Of Fernanda Hussein
Written and directed by John Gianvito
May 31 through June 6
Directed by Christopher Nolan
Written by Hillary Seitz
Incandescently photographed by Rob Sweeney (it's Münch's first feature to be shot in color), The Sleepy Time Galproceeds in erratic temporal leaps (like Münch's other films, it's a period piece, spanning the early to mid 1980s) and darts freely about in space, moving from New York to San Francisco, Pennsylvania Dutch country to Daytona Beach. Münch crosscuts between Frances and Rebecca, fashioning a faraway-so-close pas de deux, though in so emphatically enforcing the umbilical connection, he manufactures a few too many mirrored, quasi-mystical resonances.
In this avowedly autobiographical story, the most moving element may be the most starkly personalthe relationship between Frances and Morgan, in which genuine affection is complicated by mutual provocation and a rueful awareness of the other's shortcomings. Basically, she nags him, while he calmly ribs her. Several minor characters, in just a few brief scenes, suggest entire movies of their own, notably Peggy Gormley as Bob's wife. Stahl is excellent as the director's surrogate, aloof yet inquisitive, but the film belongs to Bissetit's thanks in no small part to her candid and complex performance that for all its gossamer, death-haunted poetics, The Sleepy Time Galin the end conveys the irreducible weight of a singular life.
After its weeklong run at the Pioneer, The Sleepy Time Galscreens the second weekend of June as part of BAMcinématek's annual survey of films without distributors, drawn from the results of Take Three, the most recent Voice critics' poll. This year, the BAM rescue effort opens with John Gianvito's nearly three-hour The Mad Songs of Fernanda Hussein, a no-budget epic that, along with Münch's labor of love, might be seen as the valiant, battered embodiment of true independent American filmproduced not least through sheer force of determination (see feature).
As tensions simmer and explode in the Persian Gulf in 1990-91, Mad Songstrains its sights on another desert a world away. Under vast New Mexico skies, a multi-part narrative unfolds, recounting the stories of three people whose lives are unmistakably transformed by Operation Desert Storm. A Mexican American single mother (Thia Gonzalez) whose married name is Hussein finds herself and her half-Egyptian children the target of anti-Arab hate crimes. An alienated teen (Dustin Scott), galvanized by the peace movement and at loggerheads with his well-off parents, ends up on the streets of Santa Fe. A young marine (real-life veteran Robert Perrea) returns from his tour of duty and soon learns that he has no job, a mysterious rash, and a head full of ghosts.
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