Let the Sunshine In
The film’s confidence comes in part from the acceptance of the things that can’t be known.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
[This was originally published at MSN Movies in 2006, but MSN has taken down their archives.]
"You don't make up for your sins in church. You do it in the streets. You do it at home. The rest is bullshit, and you know it." -- Charlie (voiceover by Martin Scorsese) in "Mean Streets" (1973)
If I do bad things, am I a bad person? Can I be a good person despite the bad things I've done? Can I compensate for the sins I commit in one part of my life by doing good works in another? Is forgiveness possible? Is redemption achievable? Or does it even matter if there's not really anyone, or anything, watching over us and keeping track?
Those are some of the Catholic concerns that have preoccupied filmmaker Martin Scorsese throughout his career. His latest film [circa 2006], "The Departed," is based on "Infernal Affairs," a 2002 Hong Kong thriller directed by Andrew Lau and Alan Mak, about two moles: an undercover cop who has infiltrated a criminal gang, and a crook who is embedded in the police department. So, who's the good guy and who's the bad guy? Frank Costello, the gangster kingpin played by Jack Nicholson, says: "Cops or criminals: When you're facing a loaded gun, what's the difference?" And what about when you're pointing one? In the cosmic sense, we're all facing that loaded gun, and brandishing one, every day. And the difference -- if there is any -- is what Scorsese makes his movies about.
Watching certain Scorsese pictures today ("Mean Streets," "Taxi Driver," "Raging Bull," "The Last Temptation of Christ," "GoodFellas," "Casino" and others), you can appreciate the ways they both reflect and question the prevailing moral climate in early 21st-century America. It's a topsy-turvy universe in which the President of the United States himself insists that judgments about "goodness" and "badness" are not to be based upon actions, but are simply pre-existing existential conditions. Good or bad, right or wrong -- it just depends on which side you're on.
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Tina Mabry's "Mississippi Damned," an independent American production, won the Gold Hugo as the best film in the 2009 Chicago International Film Festival, and added Gold Plaques for best supporting actress (Jossie Thacker) and best screenplay (Mabry). It tells the harrowing story of three black children growing up in rural Mississippi in circumstances of violence and addiction. The film's trailer and an interview with Mabry are linked at the bottom.
Kylee Russell in "Mississippi Damned"
The winner of the Audience Award, announced Friday, was "Precious" (see below). The wins came over a crowed field of competitors from all over the world, many of them with much larger budgets. The other big winner at the Pump Room of the Ambassador East awards ceremony Saturday evening was by veteran master Marco Bellocchio of Italy, who won the Silver Hugo as best director for "Vincere," the story of Mussolini's younger brother. Giovanna Mezzogiorno and Filippo Timi won Silver Hugos as best actress and actor, and Daniele Cipri won a Gold Plaque for best cinematography.
The Chicago International Film Festival is celebrating its 45th anniversary in better form than ever, I think. The festival, which opened Thursday, will be presenting 145 films from 45 countries. That's fewer than Toronto or Cannes but more, I believe, than any other American festival -- and besides, can you see 10 films a day?
In the Answer Man column for July 12, reader David J. Bondelevitch wrote: "I had to bite my tongue from laughing when Sam Neill's character showed up in Montana near the end of 'The Horse Whisperer.' I kept thinking he had fulfilled his dying plea from 'The Hunt for Red October.' After being shot, Sam Neill's dying words in 'Hunt' were (in a thick Russian accent): 'I would like to have seen Montana.' "
Q. My take on the new Jabba the Hut scene in the refurbished "Star Wars" is, how come Jabba is so short? Did he double or triple his size in the next six years? 'Splain that one to me please, Mr. Ans. Man. Eating too many froglets? All Huts do that? What? (Don Howard, San Jose, CA).