CGI Roadtrips and Colin Meloy

I travelled back to the TIFF with some friends to see the gala, North American preimere of "The Imaginarium of Dr. Parnasuss." Tom Waits, Lily Cole, Andrew Garfield and Christopher Plummer (the sexiest octogenarian out there) were sitting the level below us at Roy Thompson Hall!

The movie was phenomenal and probably one of the best I have ever seen. It was so impressive, I will avoid spoilers and just urge you to see it when it arrives in theaters this holiday season. "Dr. Parnassus" is Heath Ledger's last movie and he died during the filming. The filmmakers, in addition to a number of Ledger's friends, continued the movie in startling fashion as a tribute to him. They do him justice.

"Dr. Parnassus" is the story of an immortal man, Plummer as Parnasuss, who has sold his soul to the devil (Waits). The conflict is that he has wagered his daughter (Cole). Ledger's character is there to help. The plot is great and compelling - but it's the visuals that make the movie. Vivid colors swirl, giant imaginary shoes rest on lily pads, glass shatters as Cole runs through oblivion.

The next night, I went to NYC to see a one-time-only Decemberists show at Terminal 5. The idea: List the entire Decemberists catalogue on giant ping pong balls, put them all in a bingo ball picker thing (does that have an actual name?) and choose them at random, surprising the band and the audience.

I'll be the first to admit it - as much as I love the Decemberists, I'm not a hard core fan. I have over 100 songs by Bright Eyes or Conor Oberst and only 40 by Colin Meloy and his crew. However, "The Crane Wife" and I have had many a road trip together and I dutifully bought "The Hazards of Love" the week it came out. I have "Picaresque" and a few other single songs, but truly, not an entire catalogue. That's one of the reasons I was looking forward to the show. I might learn some new tracks to pin point, get a new favorite besides "Crane Wife 3," "We Both Go Down Together" and "The Engine Driver." Sadly, they didn't play "The Engine Driver!"

The other reason I was looking forward to their innovative approach to the live show was...well..."Hazards of Love." I get it. It's a concept album. It needs to be played end to end, really - and that's what the Decemberists are doing on their tour, currently.

Except this show. Thankfully.

I could hardly believe the number of instruments the band played, much less how often they switched with each other: organ, accordion, steel pedal guitar, and some sort of keyboard that has a tube attached that the player blows into. Musically, they played better than they do on the record. Vocally, Colin Meloy sounds like he's at the top of his game - except for the very top notes.

Some of the set: "Yankee Bayonet," "Crane Wife 3," "The Rake's Song," and some awesome covers.

The Beatles are still great

http://sports.espn.go.com/espn/thelife/news/story?id=4474313

Check this link out....and here's what I think:

The Beatles are a significant part of the cultural zeitgeist. A part of American mythology as a whole and a part of many, many people's personal lifetime-long soundtracks. What Shirley relies on is theory: The Beatles are only important because of what they did for rock music. I want to ask him if he remembers what song was playing when he had his first kiss. The first time he drove his car alone. What he was listening to the night his grandfather died (For me, it was "Yellow" by Coldplay...all 90 minutes home from Toronto). The Beatles are sometimes those songs for people; they are emotional and connective tissue of relationships, not only describing them - albeit simplistically - but one of those pieces of cultural that bonds people together by common knowledge. The other night I was in the car and a friend played an Annie Lennox song I was unfamiliar with. I then didn't know a Paula Abdul song they played. Immediately, I wanted to know this music because they did. Because it was something we could share.

Open chords or not, the Beatles are more important than their music - sure. So are all musicians.

But not every musician can write "Octopus' Garden." "Yellow Submarine." "Here Comes the Sun." "Revolution" ........... and so on.

TIFF

Seven movies, three days, eight hours of driving, eight hours of sleep. I got back from the Toronto International Film Festival this morning at about 2 a.m. Here's an overview of what I saw:

Friday:

"Clean Flix" - A great documentary about companies, mostly based in the Mormon community, that edit films for violence, sex and other vulgarity. Apparently, their work is in huge demand. Hollywood directors sued many of the major producers for copyright issues (as they well should). The production was excellent - slick editing, fluid story line and real people used as characters of the story.

"How to Fold a Flag"- Another documentary about the Iraq war vets trying to get back to their real lives. Of course, my favorite thing about it was the Buffalo focus. Jon Powers, 2008 congressional hopeful in my district, was followed around as he campaigned. The other men followed, like Mike Goss, a cage fighter, had a bit harder time readjusting. Goss has suicidal tendencies; another was diagnosed with PTSD and lives in a shack down south. Some of the editing was sloppy, I thought, jumping from shot to shot. The flag theme was a bit heavy-handed for my taste, too. It seemed like every other shot was a flag waving in the wind somewhere in the country. Nonetheless, as a whole, the film really moved its audience. The content was heartbreaking and I heard sniffles through the whole thing, especially when they spoke to the mother of a solider that was killed. I thought it was a really appropriate way to spend 9/11.

Saturday:

"Jennifer's Body"- (Megan Fox, Amanda Seyfried) It seemed like everyone in the theater thought this movie was hilarious, thrilling, sexy. Not me so much. Fox meets a band, fronted by Adam Brody wearing some ridiculous eyeliner, who turn her into a demon. From then on, she starts eating boys. The premise feels like a horror movie, and it is bloody. Seyfried ably plays Fox's best friend, a nerd with an adorable boyfriend. She tries to save the school from Fox while retaining her friendship. Diablo Cody, who also wrote "Juno," wrote the script, which was story-wise pretty strong. The dialogue, however, was a different story for me. I laughed at very few lines that my group laughed at, mostly because I felt like I was supposed to laugh - and I don't like to be directed toward the funny. Additionally, Ellen Page felt legitimately precocious in "Juno;" Fox's boobs are too big to take her seriously when she tries any word beyond two syllables. I recognize that it's not her fault that she has become such a pin-up, but it just didn't work for me. Also, the movie didn't feel entirely cohesive. Parts were comedy, parts pretty scary but instead of complementing each other, it felt like the sections felt disjointed. Sometimes, it even felt like Seyfried and Fox were acting in different movies - accept when they make out. And that was unnecessary pandering to the men in attendance.

"The Hole"- I would try to review this, but I never saw the end. The fire alarm went off and we were escorted out of the screening. For the most part, it was a typical, tame horror film: Boy is mad at world. He finds a hole of nothingness in his basement with his cute girlie neighbor. Scary stuff happens. But it was in 3-D! I love 3-D! Except when the director "plays with depth" (as they said in the intro of the movie) rather than throw stuff at the audience. Well, maybe "Avatar."

"The Disappearance of Alice Creed"- The movie, another thriller, was from a first-time British director. It's the story of a woman who is kidnapped by two men and what relationships unfold in that triangle. One of the kidnappers is in a love-situation with the woman kidnapped AND the other kidnapper, who is also a dude. The audience laughed when they started fervently kissing. I'm not sure how the director intended that to read, but it was more funny than concerning. It's entertaining, but it could have been tighter as far as time.

Sunday:

"Va, lhalla Rising"- About 40 minutes into the movie, I went to the bathroom. When I left, a bunch of Viking-age Christians were on a boat in the middle of a mist, unable to move and get to the Holy Land. When I came back, they still were on that boat in the mist. What else happened in the movie? Not much. A mute, one-eyed savage disemboweled, beheaded, and otherwise kicked the crap out of many people. He then had some followers. In between all that, he met some Christians and stood on a lot of mountainsides. I'm sure the movie meant something, but I dozed too often to want to think what ti was. However, despite its length and boring subject matter, it had resulted in many jokes. Funny where humor comes from.

"Chloe"- This was my favorite movie of the festival. That doesn't mean it was without flaws, but as far as production value and interest, this was the only one I didn't think about doing something else during. It's a cool story: I got out of "Valhalla Rising" with a fellow AJ and he and I walked many blocks to the theater "Chloe" was debuting in. He already had a ticket, so I got in the rush line and started chatting withe people around me. Another AJ walked by and told me she had a ticket, too. I expressed jealousy. We talked a few more minutes and a man approached us from the street and said to me, "Linda and I would like you to have this," and handed me a Priority-seating ticket to the "Chloe" premiere! Priority means that you can sit on the same level as the movie stars. "Chloe" stars Julianne Moore and Amanda Seyfried, and they were there. I was so excited, but decided to sit in the balcony with my common friends.

The movie was another thriller-type, disguised as a love-triangle film. It's a bit disturbing. Liam Neesen is also in it as Moore's husband, a flirt. She thinks he's cheating on her and hires a high-class prostitute (Seyfried) to test him. Then there's a twist, which I will not reveal, in case it comes to theaters. A warning for the especially moral and faint of heart: There's a lot of nudity and sex in the movie, which isn't my favorite thing to see, but it was pretty classy as far as you can be in those situations. In general, the film was well done, though my film-expert friend would disagree. I enjoyed it, in the context of the other films I saw, which were no where near as well produced and written.

As far as TIFF goes, it is a really good experience. I went in with only two tickets and ended up with seven pretty easily. I got up at 5:30 a.m. every day to wait in the box office line and rushed "Daybreakers" to no avail. I would definitely go again.

Please, wear pants!

A friend recently send out an e-mail about a blog post he read regarding wearing leggings instead of jeans in the winter, the premise being it's generally an impractical idea. I'm glad I'm not the only one who noticed.

When the legging craze started a couple of years ago, I resisted. Wholeheartedly. There was one occasion about six months ago in which I did wear leggings, though. It was cold out and I had a cute dress to wear to my friend's bachelorette party. They really weren't my style. I even remember my boyfriend at the time telling me that he knew he was supposed to think I looked "hot" but that he liked the way I usually dressed. (My jeans and solid colored shirts really whip the fellas into a frenzy, let me tell you.) I have not tried the look since.

However, many other chicks have. And it's gone further than just converting a short skirt into a socially acceptable outfit. Now, girls are prancing across Waverly Ave. wearing T-shirts and just leggings - not even long T-shirts, no skirts, no shorts. They may as well not wear any pants for as much as they are showing off. While at the gym this week, I noticed a number of girls wearing full-length spandex pants to run. I had on an old pair of my brother's basketball shorts. So, not only did I not understand the fashion choice of a form of leggings at the gym, I felt frumpy and manish.

It seems reasonable to ask when it became cool to go pants-less.

It's also reasonable that I can't wait for winter. Although, maybe thermal leggings will be in then.

We are stardust, we are golden

Demetri Martin tells my second favorite joke: (it goes something like this)

I went to a party and I saw a guy in a leather coat. And I thought, That is cool.

Then I saw a guy in a leather vest. And I thought, That is so not cool.

That's when I figured out the secret to coolness: leather sleeves.

I haven't ever watched his show, though The Knight gave it a lukewarm review when it premiered last year. I have seen a few of his stand up routines via YouTube.

Maybe that was my mistake. I thought "Taking Woodstock" would be a comedy. Demetri Martin has that dead-pan, non-sequitor comedy down pat and so I expected the light-hearted '60s love the trailer seemed to promise. The movie takes a more serious tone, dealing with a Jewish-American family, PTSD and a young man's coming of age in the context of building the Woodstock concert. As one of the most culturally defining moments in recent American history, and music history in general, Woodstock is a big undertaking to consider, especially since so much has been said about its anniversary this year. That's not the problem with "Taking Woodstock," though.

The scope is there and the behind-the-scenes building and deal signing is all there, too. Finding out how Yasgur - a gone-too-soon Eugene Levy - ended up hosting the event was fascinating and I plan on watching the documentary now. The problem for me was Martin. The movie focused so much on his struggles, the concert felt secondary. His acid trip and mudsliding seemed to be important, personal experiences attendees would have had, but I just have to believe the attendees would have been more interesting than Martin. I don't know if it he was miscast or if the part was just that bland, but I never felt emotionally invested in him enough to cry when with him when he looked down from that grassy hill onto the tiny music stage. I couldn't feel how beautiful it was.

While most the film was pretty standard, grainy, documentary-style shots and split screens made it much more interesting. Paint and pictures swam brightly on Martin's acid trip. The rolling grassy hills of the Catskills. Topless chicks swaying to the rhythm of their own inner peace. Watermelon slices selling for 35 cents on the New York State Thruway. The detail was complete, even if the acting wasn't all the time.

Most importantly. Woodstock was peace and music and there is startlingly little music in "Taking Woodstock." I mean, I'm sure there's a soundtrack somewhere, but the movie focuses so much on the non-music parts, the event feels hallow because we don't get to experience what the half-a-million-strong drove thousands of miles for.

After all that, I would say I enjoyed "Taking Woodstock." It needed a bit more oomph to be the Woodstock movie. I don't think it was trying to be, but someone has to do it and this movie has potential. I though it might give me what I wanted "Across the Universe" to, as it's early previews promised: a front seat to the greatest musical event and one of the most inspiring musical eras of all time...that I missed.

Because I wasn't born yet.

Jazz Fingers

A couple years ago, I wrote a review of a JazzErie performance at Gannon University. Students got in for free and the public had to pay $25 or something. It was phenomenal. I remember giving it a rave review and suggesting the school bring more eclectic music to campus - not just the programming board's few attempts at coffeehouses and "big concerts." I don't think Fabalous is quite big enough to draw a huge crowd. Jazz is an experience you have with your body, not just your ears. It's a sound that reaches down in your stomach and tells you to sway, to love the wind through the trees and appreciate. Jazz is like butter - smooth and subtle when used right.

My friend will be interning with Jazz Central in Syracuse this fall. Tonight we went to a Jazz in the City performance in Little Italy on North Salina Street. It was outdoors, it was the perfect temperature and the average listener was probably 60. (We got hit on a few times, more because we were the youngest girls there than our beauty. Though we were a good-lookin' trio.) I'm glad to see that because it's considered gospel that people don't like to come downtown for anything, though I don't know if the crowd was from the suburbs or the city. Anyway, the turn out was pretty good, despite the lack of young people. What was really interesting was the number of young people helping, though. A few sat behind tables and we chatted with a current intern at Jazz Central who is in his mid-20s. Obviously, from the way he talked about it, jazz isn't just for those that lived through Miles Davis' glory years. 

The playing was great, of course. The flutist really impressed me, maybe because I play the flute and maybe because he was just that good. The guitar-player spun through runs and the drummer had some wailing solos. Those are the best words I can use; I don't know jazz terminology. I can't tell if it's improv or on paper. But I can tell a tight band. And I can react to the music itself and feel the reactions of those around me. With jazz, good jazz (the kind Guy Patterson likes), you feel it. I don't think I need to know the proper terms for that.  

A night at the opera

Having grown up listening to, seeing and participating in musical theater, I don't consider myself a novice about performance. I've done my own performing, sets, design, costume and been a willing audience member. Never have I been to the opera, however.

The Glimmerglass Opera's "La Traviata" was my very first experience with the art form and it was as spectacular as I had hoped. First of all, the soprano playing Violetta, Mary Dunleavy, is extraordinary. Her highest notes seemed effortless and she looked just beautiful. In the first act, though, Dunleavy's costume didn't seem to fit her character, a courtesan. Instead of red, or lace, or something particularly busty to signify her promiscuity, she wore pastel pink and green with sequined roses. True, the creation was lovely and it matched the set's sofa nicely, but it did not set an appropriate contrast with act two's white dress. A member of our group told me that was to signal her "new virginity" as she began her life with Alfredo.

Alfredo, played by Ryan MacPherson, had a good voice. My favorite male role was the Baron, mostly because of all the male players, his voice was the brightest - the closest to a music theater sound, which I can tell you I much prefer over the dark tones of male opera singers. MacPherson held up well next to Dunleavy's stage prowess. Another but: In act two, he lays helpless on a couch in such a position that I couldn't take him seriously as he sang this gorgeous aria. Similarly, he leaned against a wall at one point later in the scene so pathetically. Granted, Alfredo isn't the manliest of men, in fact, he reminded me of Alex in "Aspects of Love" a little bit, but I couldn't help but think he was a wuss, simply from these stances. I recognize how picky that is. Some things just stick with you.

Oh! Justice Ginsberg was also there tonight. That's just crazy. 

Glimmerglass is truly a treasure to Central New York. It's interesting that such an accomplished opera company exists in literally the middle of nowhere. A beautiful nowhere, but it's even 20 minutes or so from the actual village of Cooperstown. 

By the way, the Baseball Hall of Fame is great. I thought of it as a nice contrast to the opera, an everyday-person's kind of outing. After seeing "La Traviata" at Glimmerglass, though, I would take anyone to see an opera. I'd always been under the impression that opera was inaccessible to those not in the know, those who don't speak the language, either Italian or of "high art" (I quote that will some disdain and disagreement). Glimmerglass's Alice Busch Theatre is perfect, only about 900 seats, and always sub titled. We also got to meet Robert, one of this summer's Young American Artists. To me, that was excellent. It took these anachronistic singers off the stage and into jeans, just in general. I also think the YAA program is a great idea and if I had more than $11 in my wallet, I might consider giving to it. 

Someone's got to fund their dreams.