Megan's Head

A place where Megan gets off her head.

Category: movies (Page 1 of 4)

Wrong Question BBC

When I was at varsity I became obsessed with a movie called A Dream of Passion starring the magnificent Melina Mercouri as an aging actress staging her comeback by playing Medea, and the extraordinary Ellen Burstyn as the woman she visits who is in jail for killing her own children.

This movie is complicated, layered and brilliant, because it pulls together the strands of the original Euripides play (with bits of chilling rehearsals and then performances, even more powerful in the original Greek) and intersects it with a modern day version of the story. Another layer is the actress’s own complicated relationship with her husband, their childlessness, his affairs.

Maya the actress visits the prisoner Brenda Collins, initially as a publicity stunt. There is a moment where Brenda Collins realises that Maya has brought a camera man with her to the interview and her reaction is etched into my mind. I will never forget that moment. It is one that has served as pure acting inspiration for me my whole life.

This camera becomes really important as the film develops. A BBC film crew is documenting the process of the play; following the actress, interviewing her, and recording her as she finds the character and then herself. It is riveting and beautiful.

In a late night interview around an outside fire, when everyone has had a bit to drink and the boundaries are blurred, Maya is asked about Brenda’s guilt. She replies, “Wrong question BBC, wrong question. The question is what would drive a woman to kill the things she loves the most.”

I have never forgotten that line. It pops up so often for me; when women are blamed for the violations enacted on them, when politicians are endlessly asked the wrong questions (like Jeremy Corbyn being interrogated for the false claim of his anti-Semitism), when the impeachment hearings testifiers are bombarded with Republican spewing in the guise of questions.

The BBC has been unforgivably Tory biased in the run up to this election in the UK. They keep asking the wrong questions, covering up Boris’s horrible blunders, and they keep bringing up the anti-Semite nonsense about Jeremy Corbyn. They have remained suspicious of the ‘sale of the NHS’ to America, even in the face of proper evidence that any true journalist should have been able to find and provide. We expect this rubbish pretend reporting from Fox News. From The Sun. They are the laughing stock. But the BBC? Sies. Wrong question BBC, wrong question.

On Screen – Our Land

Yesterday I went to watch myself (albeit very briefly) in one of the AFDA 3rd year director’s final exam movie. The Labia was a hive of students dressed as celebs, friends, family, young and old, and casts and crew. It was properly exciting.

We saw two movies, with my appearance as an Afrikaans mother in Our Land, director and writer Casey Milledge’s tribute to father son relationships in our torn and divided country.

Although I had great fun and was very impressed by the passion and professionalism of the team on the day we shot, I struggled to visualise the film, and I admit here, I was anxious about how it was going to turn out. I shouldn’t have worried.

What Casey and his creative and technical team have managed to produce is a beautiful looking, hard hitting, stereotype avoiding and deeply personal political film. Shot largely in hand held close-ups and brilliantly edited, the pace, passion and heart of the movie is distilled and made powerful. The choice to make a black and white film, mimicking historical news film of apartheid, was deliberate but not obvious, and the touches of red slashes, so unsettling in the black, grey, white were shocking: A symbol of (bloody) transformation we were told in the Q&A afterwards.

Student films suffer incredible challenges. Performers have to be begged. Resources are terribly limited. Students are over stretched and are often involved in more than one project at the same time. None of that shows in this film. I was seriously, unreservedly proud.

Those top 10 movies in Detail

I loved the Facebum 10 day movie challenge where you post a still a day from your 10 best movies and let your friends guess what they are. It was a delight to reconnect with and recommend the movies I love, so here is a bit more about my favourites.

  1. Brazil – I don’t know how many times I have watched this film. It is Terry Gilliam‘s masterpiece (he wrote it, with Tom Stoppard, and directed it) and it made Jonathan Pryce one of my favourite actors. There are so many scenes, lines, moments and visuals that I love. Too many to write about. But it is also Robert De Niro‘s greatest cameo. 

2. Spirited Away – when I think about this film I go to a place in my childhood    that remains unexplained yet deeply felt. Everything about this film is moving.

3. Whale Rider – This movie. Family drama. Cultural heritage. Feminism. Animals.

4. Funny Bones – the saddest deconstruction of what comedy is. This movie is the most triggering, heartfelt, brilliant, savage movie. And Leslie Caron. Wow.

5. Black Cat,White Cat – I didn’t know that movies could be anything until this one. The most creative, funny, dark, theatrical, visual and made film.

6. Volver – I love all of Pedro Almodóvar‘s films, but this one is my best. I also love Penélope Cruz the best.

7. As It Is In Heaven – This is a feel good movie that is beautiful and sentimental and so completely lovely, because it is character driven, and set in Sweden, and it has a choir. 

8. Big Fish – This is Tim Burton at his best, with a heavenly cast that includes Jessica Lange. And the theme song is by . I adore this movie.

9. Delicatessen – Another one of those movies that totally altered everything; performance, story, design. Saw this at least 5 times.

10. The Intouchables – Another French movie of utter fantasticalness. A deep connection tear-jerker. 

 

Then, a list of should be in the top ten only I thought about them too late, or forgot about them and then remembered. Everything is Illuminated. Pan’s Labyrinth. Beetlejuice. Finding Neverland. The Life of Brian. Silverado.

 

The Tiniest World of Song and threads of History

When my brother and I were tiny our family would come to Cape Town some December holidays to stay with my paternal grandparents who lived in the last house in the road in Oranjezicht. Across the road was a rugby field and then the mountain. We would wake up in the morning and head across the road to play in the stream that came off the mountain, catching tadpoles and wetting our feet, until the rest of the household woke up.

My grandfather had a giant Valiant; the worst size of a car for his tiny height. Driving with him was hilarious for us kids and terrifying for my parents because my zaida Israel would let go of the steering wheel and tap on it as he sang Yiddish songs. “Yum Tsiki dai dai” he would sing, or “Chiri Bim, Chiri Bom”.

Last night I snuck into The Labia to see the second screening of Philip Todres’ documentary – Cape Town Embraces Yiddish Song. The movie house was filled to the brim with white haired Jewish moaners; I overheard how this lady had all her jewellery stolen by that maid and all she got from insurance was R21000, not enough for a single choker. I heard snippets of the ‘Jewish report’ of how many Jewish Capetonians had been forced to leave the country – things are so bad. I had to cough and splutter to get the woman next to me (who had come late) to shut up and stop using her cellphone. The usual. The kind of audience I had grown used to with .

So imagine my surprise when I found myself utterly moved and connected to this little piece of history, celebrating Philip Todres’ 10 years of The Cape Town Yiddish Song Festival. This tiny movie, with interviews and recordings of songs from the concerts, tells the story of the rebirth of interest in Yiddish, and through it all I felt the longing and nostalgia for my grandparents’ home, up the hill from The Labia, and my zaida killing himself laughing at that “knakker on a nun”, and my granny Sophie (born in SA and less fluent in Yiddish) telling him to shush; he was letting the world know how unsophisticated he was.

I was taken back to my late father’s record collection and I remember those deadly boring Sundays of my youth when the Nationalist government wouldn’t allow anything to happen on the day of rest. We would lie on the carpet and listen to Connie Francis and Eartha Kitt, and even Harry Belafonte, singing Yiddish songs and my father would join in. Sometimes my maternal zaida Louis would come by, and a game of Klaberjas would happen and my zaida would curse in Yiddish (a chaleria zols du chappen) if he lost, tease and boast if he won, call my father a ganef, and he would tell us again about how strong uncle Izzy’s Yiddish accent was when he complained about the dog showing ‘vite tiet’.

I lost my critical voice and professional opinion last night. This is very unusual. I put it down to what Klezmer musician band leader Matthew Reid said about all the Yiddish songs being in a minor key, so even if they are happy and jolly songs they are still sad. Those minor keys got me, and even though I would never in a million years go for the terrible shtetl stereotypical scarf and suitcase Fiddler styling and direction, I found myself humming along and tapping, with the rest of the audience in the movie house.

Well done, Philip Todres. I don’t know how you have managed to make Cape Town’s Yiddish Song Festival a thing, and now even a little movie, but you have, and it is its own special kind of wonderful.

On Set

Being on set is weird. I am resurrecting the acting side of my ‘career’ at the moment (thanks mostly to a devoted and believing agency; thank you all at ERM) and in the last little bit I have had three totally different set experiences, with one thing in common; this alternate, limbo reality that actors go to for the day.

Usually you arrive at a place you have never been to, in an area you have never been into, and usually it is early in the morning. Usually, as an actor, you will have had a little intro to the wardrobe people because you needed to try on your costume beforehand, but mostly everyone on set is unfamiliar; except for the one or two actors you may know. Usually, there is time for a coffee and to check out the craft table (in my case to scout if there is anything vegan on it) before getting changed, even though you know you won’t be called onto set for hours.

The work in front of the camera is the least weird part of the day, and night. That is the expected part of the hurry up and wait that is film making. The weird part is the make-up lady, who you have only worked with once before, who is suddenly and for the day your NBF. The weird part is sitting in a space not meant to be sat in, reading your book, with your dressing gown over your character’s clothes. The weird part is checking Facebum on your phone, as you would every actual day, but now you are checking it from another world entirely. The weird part is the running away from the talk-too-much extras. The weird part is watching other people so engrossed in their work and the detail of it, and how upset they get when messy performers have to come into their space of light and angles and set. The weird part is driving in a left-hand drive, on the wrong side of the road, down suburban streets of Ottery-meant-to-be-Virginia, with a camera suctioned to the door, while normal people come home from work, and stare out of their windows at the spectacle. And of course it is the people who must share in that weirdness with you; fellow actors, crew, catering, and the owners of whatever location you may be inhabiting for the day; their house becoming four different houses, a workshop, an interrogation room and a small business.

Finally, after trying so hard not to ask when, it is your wrap time, and you jump out of the strange clothes, now totally familiar, throw your own shit into your bag (I either feel smug that I remembered to bring the things that helped me make my day comfortable; gown, slippers, ginger tea, book, pen and paper, or else regretful that I forgot), and you walk down an unfamiliar dirt road to where you parked your car, 12 hours ago, and start up in the bitter cold, trying to remember how you got there in the morning. And then, the radio comes on and introduces you back into the usual world, as you join up onto a familiar highway, and make your way home. 

(Me and Alan Glass on set)

 

behind the tree

wintry-wood-epping-forest-e1356721602980I was watching this movie tonight. It was a movie by Laurie Anderson. It was called Heart of A Dog, and it is kind of about her dog Lolabelle, and it is about the death of her mother and her friend and America as well, and mostly it is about death because it is a movie dedicated to Lou Reed, who was Laurie’s long time big love who died.

The thing about this movie is it isn’t the usual kind, with a beginning, middle and end. It has strands of stories, and some even fizzle out and come back later, with different pictures, and even different words, and some stories have two endings, and others stop in the middle, or before they even get started. They are a philosophy story moment.

The other confusing thing about this movie is that everything in it is true, from a story point of view, but not necessarily from a true point of view. So, you spend time in your head saying, “that is incredible, but did it really happen? Really? In real life?” And you don’t really know. And it’s so important and not important at exactly the same time. “Is that really, really where she lives?” “Is that really, really where Lolabelle came from?” “Is there really a Goya painting that is just gold ‘stuff’ with a tiny dog head at the bottom?” “Did she really almost drown, and then save, her twin baby brothers?” And while you are asking yourself these questions you are also understanding that truth is a feeling, and sometimes it is the wrong question, and a thing doesn’t need to be true to be real, in story time, because everything is about meaning.

In one ‘scene’ there are these awesome bare trees, moving in the snow. Everything is black and white, with tons of swirling snow falling, and black branches waving in the wind and snow. I became interested in one tree, because if you looked at it long enough it seemed to have a personality different from the others somehow. It seemed to move a little less, in a slower time to the others. Picture this; Laurie Anderson’s amazing, lyrical voice, saying things about dogs and death, her haunting music, and trees in the snow. And I am sure there was a ghost there behind that tree. A ghost short enough to be a dog, on all fours, behind the tree. And if I were a ghost, any ghost, waiting to move on, or forever earthbound somehow, I would choose that tree to be behind while I waited, for the next thing.

In the movie she suggests we come back to this, or another, world as another life. If I could choose, in that time of waiting, I would choose to be a dog, behind a tree, or a tree, in front of a dog.

This movie broke my heart a lot. It’s a huge responsibility of a movie. I loved it and it made me cry. And I came home and spoke words to my dogs, forgiving them for not being artistic, like Lolabelle. I don’t need them to be anything other than receivers of our love. 6a00d8341c630a53ef0133f519c826970b-pi

This blog post is part of a tandem blog post. 7 writers have been inspired by the same topic, Behind the Tree. Go here to read the next one. Candice D’arcy  http://cldg2278.wix.com/findingmeinmelbourne

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