John Henry Faulk may not be the most famous of famous Austinites -- but he should be. A revered folklorist, storyteller, writer, actor, teacher and civil rights activist, Faulk's ties to Austin run wide and deep.
Born in 1913 in South Austin (his boyhood home is now the elegant Green Pastures restaurant), he spent most of his life in the River City. As a University of Texas student, he was a protégé of the Holy Trinity of Texas letters -- J. Frank Dobie, Walter Prescott Webb, and Roy Bedichek. He earned a Master's degree in folklore and taught English at the university until the outbreak of World War II, when he joined the Merchant Marines and then came home to serve as an Army medic at Camp Swift in Bastrop.
After the war, Faulk's storytelling talent landed him a career as a popular radio talk show host and entertainer. He hosted The John Henry Faulk Show at WCBS in New York for six years, appeared on TV many times and served as vice president of the American Federation of Television and Radio Artists (AFTRA). But Faulk's radio and TV career ended abruptly in 1957, a victim of anti-communist hysteria and blacklisting. (Faulk was famously liberal, but no communist.)
A poster for Giant billed the iconic Texas film as The GIANT of Them All.
The poster hardly exaggerated. Running more than three hours, starring three of Hollywood's biggest stars of the era, spanning more than two decades and set against the vastness of a cattle ranch, Giant seemed as big as Texas itself when it was released in 1956.
To the film's legions of fans and many critics, Giant is still a giant. No other film captures the mythical Texas -- if not the real one -- quite like George Stevens' epic story. Countless films have been made here, but with its swaggering view of life in the Lone Star State, Giant may be the most Texan (again, in the completely mythical sense) of all.
Based on a 1952 novel by prolific novelist and playwright Edna Ferber, Giant is the story of the Benedict family, owners of a 595,000-acre West Texas cattle ranch. The film opens in the early 1920s, when Jordan "Bick" Benedict (Rock Hudson) travels to Maryland to buy a prized stud horse. He meets the horse owner's daughter, socialite Leslie Lynnton (Elizabeth Taylor), and the two marry after a whirlwind romance.
With little fanfare and zero warning, the eagerly-awaited news went out this week that 1120 South Lamar, the crown jewel and flagship Alamo Drafthouse location, home of Fantastic Fest, gathering place for filmmakers and celebrities, clubhouse for movie geeks, hangout for hipsters, and destination for Austinites of every variety, was to finally emerge, like a phoenix from the ashes (or perhaps like sweet zombie Jesus, if that’s more your thing). Point is: Something this great couldn’t stay dead, and it’s back!
Here's the latest Austin and Texas film news.
- The Austin Film Festival teams up with the Texas Film Commission and the Bullock Texas State History Museum for a screening of Blood Simple on Wednesday at 7 pm in the museum's Texas Spirit Theater. Blood Simple, which follows a Texas bar owner on his search to prove his wife's infidelity, marks this year's final screening in the Made in Texas Film Series.
- AFF announced more panels and panelists for this year's conference: Dallas Buyers Club writer Craig Borten; Sergio Sanchez, writer of The Impossible; Philipp Meyer, author of the The Son, a soon-to-be-adapted AMC television series; and the writers of the hit TV series Bob's Burgers, Lizzie and Wendy Molyneux.
- The Music Bed, a music licensing company for filmmakers and photographers, is hosting a contest to help fund short movies. Filmmakers are encouraged to submit their short film idea online to collect public votes in an effort to win the grand prize, chosen by The Music Bed staff, of either a custom movie score or up to $7,500 in music licensing. Two runners-up will be chosen by popular vote. The deadline to submit short movies is Sept. 1.
- The Contemporary Austin will host a free screening of Impossible Light on Thursday at 7 pm at the Jones Center (700 Congress Ave.). The indie doc traces the story behind "The Bay Lights," the installation of 25,000 LED lights along San Francisco's Bay Bridge.
- Austin-based indie production company Studio e2 will host the short movie showcase for women-directed projects, Shorty Shoots Too, on Friday, Aug. 28 at 8 pm at at East Seventh Eats (1403 E. 7th St.).
If one can expect anything from Michel Gondry, it is that along with the whimsy and touch of the bizarre inherent in his work is an element of truth. Eternal Sunshine of the Spotless Mind uses erasure imagery to illustrate the pain of heartbreak. Be Kind Rewind has friendly video store employees creating their own versions of Hollywood hits for their neighborhood. Gondry's latest film, love story Mood Indigo, however, is utterly drowning in whimsy and lacking any figment of truth.
Debonair and bearded Romain Duris (Populaire, The Beat That My Heart Skipped) stars as Colin, living off family money in a spacious Paris apartment. Audrey Tautou (Amelie, A Very Long Engagement) plays cute Chloe, whom Colin meets at a party. The plot goes something like this: guy meets girl, guy and girl fall in love and marry, flower grows in girl's lung.
There's also a B-plot, involving a friend (Gad Elmaleh, Priceless, Midnight in Paris) Colin loans money to court a woman (Aïssa Maïga, Cache, Bamako), which is just as confusing as the rest of the film. The fever dream of a movie is full of fantastic visions, but the story is ridiculous beyond measure. Is fate written out for us by a room full of random people on vintage typewriters? And if so, who cares?
Unpredictabilities may rule Mood Indigo, but the film still follows the overly-familiar classic "movie cough" rule. It used to be that any time someone in a movie coughed, they were terminally ill -- after all, nobody has allergies in the movies. And indeed, as soon as Chloe adorably coughs post-honeymoon, things start going downhill for the couple.
The Austin Film Society's "Films Of Roger Corman" series (Jette's preview) continues this weekend at the Marchesa with 1961's The Pit And The Pendulum starring Vincent Price. Tonight's screening is a Free Member Friday event for any members of AFS (with General Admission tickets also available). It will also screen again on Sunday afternoon. Tom Gilroy's The Cold Lands is scheduled for a "Best of the Fests" booking on Tuesday at the Marchesa and Thursday's Essential Cinema selection features Barbara Stanwyck (Elizabeth's preview) in William Wellman's Lady Of Burlesque. This extrememly rare 35mm print is on loan from the Library Of Congress, making it a night you won't want to miss!
Austin Film Society is also presenting the Texas premiere of Sin City: A Dame To Die For in 3D on Wednesday evening at the Paramount. Co-directors Robert Rodriguez and (just announced!) Frank Miller will be in attendance for an introduction, post-screening Q&A and at the after party. Aerosmith's Steven Tyler, who appears on the soundtrack, whill also be at the screening. Tickets, including VIP packages, are available on the Paramount's website.
Cinema East will be hosting Above All Else (Don's SXSW review) on Sunday night on the lawn of the French Legation Museum. There's only one more film in this summer's series after this, so head out for this all-ages, BYOB-friendly event. Doors are at 7 pm and the film will begin at 9. This documentary had its world premiere at SXSW this year and examines the battle over the Keystone XL oil pipeline, introducing us to an environmental activist from East Texas who tried to block it.
Released in 1993, the 1994 Newbery Medal winner The Giver by Lois Lowry has been one of the most controversial and influential novels of the 1990s. Banned from schools across the nation for being "violent" or "unsuited for younger age groups," this dystopic tale centers around Jonas, a young boy who lives in a literally colorless world of contentment.
In what at first appears to be an utopian society of "Sameness" with absence of pain and suffering, Jonas (Brenton Thwaites) seems content with his friends and family. He lives with his parents, the dutiful nurturer Father (Alexander Skarsgard) and his more stern and unyielding Mother (Katie Holmes). His classmates Fiona (Odeya Rush) and Asher (Cameron Monaghan) are frequent companions, and prepare to receive their life assignment as even choices have been eliminated in this seemingly perfect society.
Jonas receives the most prestigious and ominous assignment of all -- as the Receiver of Memory, he must learn and keep the dark history of the Community to guide the Elders and prevent the tragic mistakes of the past. However, as he begans to learn from the current Receiver who is now referred to as "The Giver" (Jeff Bridges), he discovers the dark history behind his community that has led to the absence of joy, pleasure, and color from their lives as well.
Jonas is faced with the difficult choice of accepting the role that he has been given, or do what he can with the aid of others to bring the Community back to the "real" world. Either way he must deal with the Chief Elder (Meryl Streep), who is fearful and distrusting of human nature in his journey.
The Catholic Church's seemingly endless scandals have been fodder for many great films, from the searing documentary Deliver Us from Evil to the star-studded critical darling Doubt to last year's sleeper indie hit Philomena.
The latest movie to address the church's sex scandals, the Irish drama Calvary, is one of the darkest. Equal parts whodunit (actually, who will do it), character study and meditation on faith, Calvary is a thoughtful film with a cold, grim heart.
Calvary's protagonist, Father James (Brendan Gleeson), is a marked man from the film's opening scene. During a confession, a bitter parishioner vows to kill Father James as retribution for being raped by another priest decades earlier. The parishioner doesn't accuse Father James of any wrongdoing; in fact, he singles him out for his innocence. "There's no point in killing a bad priest," says the anonymous voice in the confessional booth, "but killing a good one -- that would be a shock."
As a film critic, I hear a lot about websites where thieves steal and repost other critics' reviews, sometimes not even bothering to remove identifying material.
But this week, I got my first experience in seeing a purported "filmmaker" post short films to his website that he might claim are his, but obviously do not belong to him. I know this because I saw one of the films in its original incarnation: the very funny short My Mom Smokes Weed, from Austin filmmaker Clay Liford -- it screened at Austin Film Festival in 2009 as well as a number of other film fests. And if you've watched any of Liford's movies (Wuss, Earthling), you know this is so very much his trademark work that anyone else trying to pass it off as his own is an idiot.
If you haven't seen My Mom Smokes Weed, now's your chance. I've embedded it below. And as a bonus, I would like to point you to an Arts + Labor blog post that includes some of the back-and-forth between Liford and the genius who retitled the film Smoked and posted it to his film production site, as well as a link to the Reddit thread where Liford learned about the plagiarism in the first place. He's not the only filmmaker whose films this person is stealing.
When he's not battling moronic plagiarists, Liford is currently working on Slash (aka S/ash), the feature-length expansion of his short film of the same name. You can follow the status of that production on its Facebook page. The short screened at Fantastic Fest 2013 -- read Debbie's interview with Liford about the short and planned feature.
And now the authentic My Mom Smokes Weed (YouTube link), starring Nate Rubin and Sylvia Luedtke, shot in Dallas before Liford moved to Austin:
Ready, Set, Fund is a column about crowdfunding and fundraising endeavors related to Austin and Texas independent film projects.
I enjoy skimming over the last three years of our "Ready, Set, Fund" monthly column and seeing how many film funding campaigns have achieved success. A gratifying experiences of writing this feature is following projects from their infancy and on through their maturation to the big screen.
Sadly though, I see far too many campaigns that never get off the ground. There are a multitude of reasons for failure, but often I suspect it's due to too high of a goal in an "all or nothing" campaign, too short of a timeframe or simply not enough effort put into the creation and support of a fundraising campaign. Research and maintenance are critical components of any successful fundraising endeavor, and can require a substantial amount of time, money and resources.