Television

The Life of Reilly

The Life of Reilly (Directors: Barry Poltermann and Frank Anderson, USA, 2006): If you grew up in the 1970s like me, you couldn’t avoid Charles Nelson Reilly. He was on Match Game, Hollywood Squares, Lidsville, Uncle Croc’s Block, and made reg­ular appear­ances on The Tonight Show. What I didn’t know about Reilly was that he had been a Tony Award-winning actor on Broadway in the 50s and 60s, and that when he dis­ap­peared from tele­vi­sion, he went on to become a beloved and respected acting teacher.

This film doc­u­ments a per­form­ance of Reilly’s long-running but also long-retired one-man show, “Save It For The Stage: The Life of Reilly.” The dir­ectors con­vinced him to take it out of moth­balls for one last per­form­ance in 2004, and the result is this film. There is a bit of archival footage mixed in, and some music, but what the dir­ectors have done is essen­tially edit down a three hour long stage per­form­ance into some­thing half that length. Which is why although it’s an amazing story, it’s just not that great a film.

Reilly has had a most inter­esting life, and he’s a great storyteller. That he even forged a career as an actor is incred­ible, con­sid­ering his unbe­liev­ably dys­func­tional family. His descrip­tions of his soul-crushing mother are hil­arious, but also very sad. And when he even­tu­ally got an inter­view with the head of NBC in the early days of the tele­vi­sion era, he was told, “They don’t let queers on tele­vi­sion.” His pro­lific appear­ances in the 1970s almost seem to be his way of exacting revenge.

But because his story was so inter­esting, I wanted to know more. There’s very little about the fact that he is gay. No stories about crushes, romances, rela­tion­ships, and only the NBC story about any kind of dis­crim­in­a­tion. One thing that emerged from the film was Reilly’s long and (to me) sur­prising friend­ship with Burt Reynolds. I would have loved to have heard a few more anec­dotes like this about his friends. It just seemed like there was so much more to tell, and knowing that the stage show was longer, it made me ques­tion the dir­ectors’ decision to cut material. As well, apart from Reilly’s riv­eting per­form­ance, the film­makers didn’t add much ori­ginal work.

Although that makes it sound like I didn’t enjoy the film, that would be untrue. I wanted to hear even more from this fas­cin­ating man. Unfortunately, the show is back in moth­balls, and I don’t see him touring it again, not at 76 years of age. Pity.

May 28, 2007: I just found out the very sad news that Charles Nelson Reilly has passed away. I’m very glad this film was able to convey a sense of the won­derful drama of his life and his skills as an actor. Try to see it if you can.

October 23, 2007: Good news. The film will be opening across the US next month, and the film’s web site has been newly redesigned with lots of con­tent. The film will be playing at the Bloor cinema in Toronto from November 30 until December 13, according to the site. Don’t miss it!

Official site for the film

7/10(7/10)

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Trailer Park Boys: The Movie

Trailer Park Boys: The Movie (Director: Mike Clattenburg, Canada, 2006): A double-dose of Canadiana this weekend for your humble reviewer. In con­trast with Bon Cop Bad Cop, though, it’s not strictly neces­sary to have a maple leaf on your pass­port to enjoy this one.

Based on the pop­ular (in Canada, anyway) Showcase tele­vi­sion series, the Trailer Park Boys’ feature-length film doesn’t sur­prise, but it does deliver the laughs reli­ably. The thing about this group of char­ac­ters is their incred­ibly lim­ited range, which limits the plots, as well. I’ve only seen about three or four epis­odes, from various sea­sons, but I always feel like I’m watching the same episode. Not that this is a cri­ti­cism. Half the fun is watching the boys end up back where they started at the end of every episode. And the fact that we don’t learn any­thing new makes sense when Julian, Ricky and Bubbles never learn any­thing new, either.

But I did sort of wonder what was gained by expanding this to fea­ture length and put­ting it on a big screen. There are some fun cameos from Gord Downie (from the Tragically Hip) and Alex Lifeson (from Rush) as cops who pursue our trio in a high-tech police chase. And former Headstones singer Hugh Dillon (notorious as Joe Dick in Bruce McDonald’s Hardcore Logo) turns in a suit­ably creepy per­form­ance as a strip club owner. But overall, this is just an enter­taining trifle, and maybe for our American friends, an intro­duc­tion to the world of Sunnyvale Trailer Park.

6/10(6/10)

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The World According To Sesame Street

The World According To Sesame Street (USA, 2005, Director: Linda Goldstein Knowlton and Linda Hawkins, 105 minutes): Sesame Street has proven to be a very suc­cessful American export, now being seen in more than 120 coun­tries. This film looks at the very unique pro­cess of estab­lishing co-productions with local edu­cators, pro­du­cers and pup­pet­eers, focusing on two chal­len­ging loc­a­tions: Kosovo and Bangladesh.

By far the most time is spent on the Bangladeshi pro­duc­tion, and the real star of the film is Sesame Workshop pro­ducer Nadia Zylstra, who began her job three weeks before filming began. We follow this very excit­able South African woman as she begins the pro­cess of defining what the pro­gram will look like in Bangladesh. The film shows us the nuts and bolts of how the pro­duc­tion comes together, and some of the chal­lenges involved when dealing with local oppos­i­tion and delays.

I enjoyed the film and found it very inspiring, but I think it missed a chance to dig a bit deeper into the issue of what some audi­ence mem­bers called “cul­tural imper­i­alism.” Though they’re very careful to “partner” with local people, the Sesame Street organ­iz­a­tion is still American and fuelled by American values and defin­i­tions of suc­cess. Some of the ques­tions sur­rounding the “export” of an American model would have been very inter­esting to explore.

8/10(8/10)

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I love the CBC. I sub­scribe to their excel­lent doc­u­mentary mailing list and if you live in Canada, you owe it to your­self to watch or tape Naomi Klein and Avi Lewis’s excel­lent film The Take, which is airing on Thursday March 24 at 8:00pm.

I saw the film last year at Hot Docs, and called it “a fas­cin­ating look at what hap­pens when the unem­ployed decide to take mat­ters into their own hands“.

Here’s the offi­cial film site.

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Z Channel: A Magnificent Obsession

Z Channel: A Magnificent Obsession (USA, dir­ector Xan Cassavetes): The daughter of the late film­maker John Cassavetes and act­ress Gena Rowlands, Xan (Alexandra) Cassavetes grew up sur­rounded by the cul­ture of film. But in her teens, she began to form her own taste, thanks in part to an innov­ative Los Angeles area cable channel. Z Channel began in 1974, long before there was a Blockbuster Video on every block, and it showed both neg­lected American films as well as the greats of European cinema. Xan set out to make a straight doc­u­mentary about the channel, and in the pro­cess found a whole other story.

Jerry Harvey was a film geek’s film geek. He joined Z Channel in 1980 after pro­gram­ming films for a local art­house cinema. Under Harvey’s dir­ec­tion, Z Channel really took off, com­peting against heavy­weights like HBO. While remaining a local treasure, Z Channel’s influ­ence was dis­pro­por­tionate to its sub­scriber base, since so many film­makers lived in the LA area. Harvey was a friend and cham­pion of such film­makers as Sam Peckinpah, Henry Jaglom, Michael Cimino, Robert Altman, and Paul Verhoeven, and was one of the first to show “director’s cuts” of such mis­un­der­stood films as Heaven’s Gate, Once Upon A Time In America, and The Wild Bunch. But he was also a deeply troubled man. His obsessive nature fuelled his work, but it often led to bouts of crushing depres­sion. His mood swings cul­min­ated in a ter­rible tragedy in 1988 when he killed his wife and then took his own life. Remembrances from his friends are still fraught with grief and anger, more than fif­teen years later.

While at first, I wondered if I were seeing two films (a por­trait of Jerry Harvey, and an appre­ci­ation of over­looked films), I real­ized that the beauty of Cassavetes’ film is that she’s cel­eb­rating the life and achieve­ments of Jerry Harvey by talking about some of the films that he brought to her atten­tion through Z Channel. Not his tragic end, but what came before. So often, when a life ends in tragedy or viol­ence, we only remember that part. Sure, you could call Harvey a mur­derer. But he was also an incred­ible film lover and filmmaker’s advocate, someone who had a wide ran­ging influ­ence as well as a group of loyal friends who are still reeling from his loss.

Z Channel only lasted about a year after Harvey’s death, and the many people inter­viewed (Quentin Tarantino, James Woods, Theresa Russell, Paul Verhoeven, Robert Altman, and Jacqueline Bisset among them) seem almost as wistful about the death of a cer­tain era in cable tele­vi­sion as of their friend Jerry Harvey.

P.S. It seems fit­ting that I should end my 2004 Toronto International Film Festival exper­i­ence with a film about a TV channel that dir­ector Henry Jaglom described as “like a film fest­ival in your house every night.”

8/10(8/10)

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