A BEAUTIFUL DAY IN THE NEIGHBORHOOD – MATTHEW 22: 39

SHORT TAKE:

Matthew 22: 39

WHO SHOULD GO:

EVERYONE!

LONG TAKE:

Jesus, in Matthew 22:39, when asked what the Greatest Commandment was, replied that it was to love God with your whole mind, soul and strength then added that the Second was like the first: To love your neighbor as yourself. And I can think of few men whose lives have better served as a template for following these instructions than Mr. Fred Rogers.

A Beautiful Day in the Neighborhood, contrary to what you might think, is not about the life of Fred McFeeley (yes that’s his real middle name) Rogers. If you want to learn more about Mr. Rogers’ biography you can watch the wonderful documentary on him Won’t You be My Neighbor? (READ MY REVIEW OF THAT HERE)

A Beautiful Day in the Neighborhood is less about the life of the man than the effect his life had on others. Mr. Rogers began his show to teach children appropriate and healthy ways to deal with feelings – especially negative feelings: hurt, envy, anger, betrayal, loss. When children do not learn to deal with their dark parts they become adults who do not deal well with them either. And while the show successfully managed that in a way no other show even tried, Mr. Rogers’ Neighborhood and A Beautiful Day in the Neighborhood is about so much more.

The writers Micah Fitzerman-Blue and Noah Harpster, and director Marielle Heller (sister to composer Nate mentioned below) of A Beautiful Day in the Neighborhood made some bold choices I had not expected. The movie starts as though you were watching the old children’s show Mr. Rogers’ Neighborhood – with the spritely theme song, models of moving trolleys (and a plot appropriate addition of a flying toy plane), filmed in the period slightly fuzzy television low definition we grew up with, followed by Mr. Rogers’ appearance to sing his song, change from his jacket to a sweater and explain what the day’s show is to be about. In this case, he uses a picture board, opening little hand-made doors to remind us of a few of the show’s regulars: Lady Aberlin, King Friday the 13th, etc. He then reveals an uncharacteristically ugly photo of a bewildered and injured man who Mr. Rogers refers to as his friend Lloyd (Matthew Rhys).

As the movie segues into a more conventional format, we soon find out that Lloyd Voger (Matthew Rhys who is actually Welsh doing a fabulously authentic American accent) is an  ambush journalist who has been assigned a “fluff” piece on Mr. Rogers by his concerned boss Ellen (Christine Lahti – a former Blacklist frequent guest star) who believes Lloyd has alienated a few too many people and that this will soften his image. Suffice it to say Lloyd has issues with this assignment, himself, the world and life in general.

Although there is no real Lloyd, he is a composite and representative of the children of all ages who were aided by the gentle ministry of Mr. Rogers. The story was inspired by the existence of an anecdotal article about Fred Rogers written by Tom Junod for Esquire magazine in November 1998 called “Can You Say…Hero?”

The show within the movie even includes Mr. Rogers’ break of the fourth wall as he gazes directly and kindly at the camera in a stare both penetrating and non-threatening, the way your grandfather might encourage you to be completely honest with him about some problem you were having. Mr. Rogers used this technique to let children know that he was interested in each of them. And this wasn’t just a gimmick. When he met someone face to face he genuinely gave them his full and undivided attention in a way few people will or can. Hanks recreates this beautifully, making the audience members feel included in a personal comforting way.

The acting is Oscar worthy (at least measured against a time when the Oscars meant something). Tom Hanks (whose astonishing filmography ranges from the goofy adorable Big to the mesmerizing Bridge of Spies, iconic Forrest Gump AND the voice of Woody from the Toy Story franchise) has the look, nuance and gestures of Mr. Rogers spot on – every hesitation, the warm genuine smile, the playful shoe toss, the kind but perceptively intense gaze, the ingenuous attitude which masks the sharp analytical mind searching for a way to help that you don’t even realize you need.

Rhys gives a heartbreaking performance as an emotionally crippled man whose arc propels the narrative of the story.

Susan Kelechi Watson (another Blacklist alumna) is lovely as Lloyd’s supportive wife, Andrea.

Chris Cooper (whose resume includes everything from The Tempest to the Muppets and the Bourne franchise) does a solid job as Lloyd’s father, Jerry, with whom Lloyd has a complex and strained relationship.

The cinematography is extremely effective telling a subtext of the story by itself. The cameras employed for the scenes which recreate the shooting of the Mr. Rogers’ Neighborhood show are the same kind of cameras originally used for the real thing. The studio they filmed those Mr. Rogers Neighborhood recreated scenes were the original ones used in Philadelphia for the real show. This creates a nostalgic feel to those segments of the movie, especially as shots of Lloyd during cuts to him even in the same scenes, use a digital camera. This provide a notable visual contrast between the two men and the way they perceive the world: Mr. Rogers – through the gentle softer lens of a children’s show, versus Lloyd’s harsher view of the world and the people around him. It is this kind of thoughtful subtlety which makes A Beautiful Day in the Neighborhood so deeply effecting as both a story and parable.

The music is both soundtrack (by Nate Heller – Can You Ever Forgive Me?) woven about the Mr. Rogers’ theme music and an eclectic collection of lovely songs which you would likely have come across as you cruised the radio dial from the 1970’s to 1990’s: “Northern Sky” by Nick Drake, “Road to Find Out” by Cat Stevens, “Down by the Bay” by Raffi, “The Promise” by Tracy Chapman – chosen either for the meaning behind the lyrics or for the sheer joy of the innocence of the song.

Not to give away too much but A Beautiful Day in the Neighborhood is not only about a man named Lloyd. It is about the reclamation of a soul and for anyone with leftover negative feelings from childhood with which they struggle – so, everyone. And the beauty of this Neighborhood is the solution which this lovely man demonstrated daily to the world.

So go see this gentle movie about the healing powers of a genuinely kind and loving man who performed miracles by simply taking Jesus’ instruction to treat everyone as their neighbor to heart and lived it every day of his life.

FORD v FERRARI aka LE MANS ’66 – THE RIGHT STUFF ON THE RACE TRACK

 

SHORT TAKE:

Ford v Ferrari does for the professional car race what The Right Stuff did for the space race. Fascinating insight into the art of the beasts’ designs and the intense skill of the men who push the limits of human endurance to risk piloting these genius feats of American engineering into record breaking speeds and distances.

WHO SHOULD GO:

Mostly mid to older teens for profanity, including blasphemy, and sudden automotive violence. No inappropriate or gratuitous sexuality.

LONG TAKE:

Ford v Ferrari, directed by the eclectically talented James Mangold, (including films as diverse as Logan, and Kate and Leopold) tells the tale about the challenge to the long time champion Ferrari  by the underdog American Ford company in the grueling 24-hour Le Mans race in 1966.

Previous racing movies like the crowd pleasing Grand Prix in 1966 and the disastrous MacQueen vanity bomb LeMans in 1971 relied heavily on made up soap opera plots against the backdrop of the famous races. The more recent cinematic venture, Rush (2013), while covering the story of two real life competitors, leaned on the scandal and juicy personal troubles of the men.

Ford v Ferrari, like the cars it features and the men who drove them, is a different breed. Ford v Ferrari, written by the team of: Jez Butterworth, John-Henry Butterworth, and Jason Keller, is far more reminiscent of The Right Stuff, focusing on the goals these brave and determined men wished to achieve. Where astronauts like Armstrong, Grissom, Glenn and Yeager dreamed of going out into space, drivers  like Ken Miles (Christian Bale – Batman: Dark Knight, Henry V, Midsummer’s Night Dream, Prestige) and designer Carroll Shelby (Will Damon – Good Will Hunting, Bourne franchise, The Martian) were committed to going flat out.

Carroll Shelby, most famous for bringing the Mustang to life for Ford Motor Company, spoke to a group of people on the eve of Ford’s launch into the racing business. He recalled that his father told them if he found something he loved to do for a living he would never have to work a day in his life. He then goes on to say that there are some people who go beyond that, and find something that compels them so strongly that they must do it or die. Ferrari versus Ford is the story of two such men, Shelby and Miles whose groundbreaking work on the development of the racing car brought innovations in speed, efficiency and safety to the motor vehicles we drive 50 years later. Their determination and courage to break records and accomplish what others only dream of is inspirational and exemplifies the American spirit of the 1960’s and gives example of what America does when her people put their minds to it.

Christian Bale’s British Ken Miles allows this versatile method actor to relax into something closer to his native accent than is his usual. Bale is, like Charlize Theron, Meryl Streep and Dustin Hoffman, one of those brilliant actors who don’t mind looking rough and ugly to benefit a performance. If you don’t believe that you should take a look at The Machinist. In Ford v Ferrari, Bale portrays Miles accurately as sweaty, dirty and plain, with the weather-beaten rough sunburned face of a man who spends his time either underneath the car or outside behind the wheel.

Damon’s performance as Carroll Shelby is one of quiet strength and subtle restraint. There’s great chemistry between these two men and you thoroughly believe them to be closer than brothers bonded by a common passion.

Unlike other racing movies, Ford v Ferrari has the courage of its convictions in putting the machines, technology and the race in the forefront of the story, leaving the personalities and the corporate manipulators as a colorful background. I understand very little about how cars work and despite the mountains of (perfectly appropriate) technobabble and jargon in the script, I understood clearly everything that was going on, including the hazards risked, the challenges endured, and the accomplishments achieved by these men and their crews.

Miles is at once brash and obnoxiously violent, not suffering fools, and at the same time gentle and philosophical with his son and wife.

There is a beautiful subplot that runs as a thread throughout the movie in the warm and close relationship between Miles and his son, Peter (Noah Jupes known for his outstanding performance in A Quiet Place). Peter was constantly at Miles’ elbow and went on to a career in car design, manufacture and racing. There seems to be a genuine rapport between Bale and Jupes.  The scenes with Miles and Peter provide many of the quiet gentle themes and take aways to this otherwise often loud and brutal movie.

There is also good chemistry between Bale and Caitriona Balfe (beautiful Irish model known for Money Monster and Now You See Me) who plays Miles’ wife Mollie. Balfe’s Mollie is supportive and understanding of Miles’ obsession but practical and no-nonsense when the occasion requires. Their tender moments feel very natural, with Bale and Balfe’s performance together making believable that this lovely woman would be devoted to this tough beef jerky of a man.

The machines, which provide the freedom of incredible speed, imagined and sculpted by the men devoted to the craft, demand a terrible price. Along with native skill and hard won knowledge it takes the sangfroid of acceptance of one’s own brief mortality to truly master the racing art. The drivers, designers and machinists accept that and know it takes a special fearlessness to undertake command of this breed of car. Ken Miles exemplifies this perfect blend of talents, expertise, aesthetic comprehension, and raw courage.

There are a number of character cameos: Jon Bernthal (The Accountant SEE REVIEW HERE and Peanut Butter Falcon SEE REVIEW HERE) portrays Lee Iaccoca, (later known for his part in the development of the Mustang and reviving the Chrysler Corporation), at the beginning of his career with Ford. Tracy Letts, an accomplished writer and theatre actor known for the movies Lady Bird SEE REVIEW HERE and 2019’s Little Women, portrays the blustering but determined Henry Ford, II. Josh Lucas (2006 Poseidon and Glory Road) is the weaselly Beebe, a composite of the worst of the corporate suits system. Remo Girone portrays Enzo Ferrari.

The cinematography by Phedon Papamichael is outstanding, taking you right into the “cockpit” of the driver’s seat, helping you feel the enticement of the driver’s adrenaline rush without feeling claustrophobic. The music by Marco Beltrami & Buck Sanders  echoes the sound of pistons while adding an Aaron Copeland feel of freedom and a jaunty ’60’s cockiness, all adding up to a musical recreation of the personalities of the two main characters.

If you are familiar with this history this movie will bring what you know to robust life. If you are not familiar with the history, do NOT look it up before you see this film because to give away too much would be  unfair to this  movie about racing cars which is more than the sum of its parts. So two checkered flags to Ford v Ferrari.

MIDWAY GOES ALL THE WAY

SHORT TAKE:

Inspiring reenactment of the days before and of the watershed Battle of Midway during World War II, highlighting the selfless heroism and courageous dedication of men who committed EVERYTHING they had to fighting what  seemed to be a losing struggle with the Japanese Empire.

WHO SHOULD GO:

Mid teens and up as the violence is necessarily graphic and brutal. No sexuality but the language is occasionally rough and appropriate to the men and circumstances.

LONG TAKE:

SPOILERS!

Romans 5:7: “Indeed, only with difficulty does one die for a just man, though perhaps for a good man one might even find courage to die.”

We all love action heroes who put their lives on the line in extreme moments to save family or friends in desperate situations: Bruce Willis’ John McLane in the Die Hard series, Tony Stark in Endgame. Even the disaster “B” movies like Skyscraper and The Poseidon Adventure can be guilty pleasures, admiring (pretend) courage in the face of the (manufactured) crisis.

Now imagine HUNDREDS of these types of everymen, volunteers or drafted, trained certainly but no superheroes. But this was real. These men had real families and lives. The pain, the terror, the disfiguring injuries and sudden young deaths, the gut wrenching grief left behind, HAPPENED to people your grandparents knew – or TO your grandparents. Your own family histories, photos, private letters, and stories told at family gatherings are probably rife with tales of loss and sacrifice of young men who left everything behind, including their youth and many their lives, to protect their country and families.

The story of Midway begins on a warm December in Hawaii, where people planning outdoor church services and picnics with their families, are suddenly faced with split-second life changing and life losing decisions when, without  warning, planes tore out of the sky shooting at  friends and crewmates, ripping them to pieces. Few would have blamed any who froze or ran, but hundreds of these men seized the nearest weapon to shoot back, some hopelessly trying to simply buy time for others to reach safety, while the vessel they were on broke, sank or burned in brutish apocalyptic Hellscapes of screaming and smoke and explosions, with no possibility of escape.

That was Pearl Harbor and the movie Midway examines the fallout from this cataclysmic event and the eponymous Battle for our lives that followed in Pearl’s wake. The Battle of Midway was the determiner whether the war would continue to be fought out in the ocean and around Japan and Europe or whether it would make its way to the shores of continental USA and be prolonged, possibly for decades.

Midway tells the story of the men who, at Pearl and during the Midway Battle, followed Christ’s example, willingly offering up their lives for their fellow countrymen regardless of who they were, knowing only that they were in desperate danger.

All of the acting choices were inspired, the indigenous accents of the people being portrayed understated and realistic.

Woody Harrelson (2012, Zombieland, The Glass Castle) is the perfect Charles W. Nimitz, bringing his familiar wary self confidence to this real life seasoned soldier, agonizingly cognizant he is in the fight of his country’s life.

Dennis Quaid (Frequency, A Dog’s Purpose, The Alamo) is the growly fire hydrant shaped tough guy William “Bull” Halsey who leads from the front.

Patrick Wilson, (The Alamo, Phantom of the Opera) whose talents have been grotesquely underused in the fright flick Conjuring franchise, comes into his own as the intelligence officer Edwin Layton, whose warnings leading up to Pearl had been ignored and who now was determined to put everything on the line to be sure his country was never under-prepared again.

Ed Skrein (Alita: Battle Angel, Deadpool) is the fighter pilot Dick Best, who put his country’s freedom and his fellow patriots before any consideration for his own personal safety.

Aaron Eckhart (Batman: Dark Knight, White House Down) is Jimmy Doolittle who led the potential suicide mission into the never-before attacked Tokyo to strike a morale blow for America.

Nick Jonas (Jumanji: Welcome to the Jungle) is Bruno Gaido, whose calmly philosophical personality and selfless heroism are brought to light on the screen.

Luke Evans (Hobbit trilogy, steam punk Three Musketeers, live action Beauty and the Beast) portrays Wade McClusky, decorated air group commander whose reasoned instincts and willingness to think outside the box became critical elements in the outcome of the Midway Battle.

All these actors brought to life real heroes, instilling their performances with the respect and dignity those historic military fighters deserve.

There are no last-minute saves or inevitable wins, no cliched characters though some cast members portray composites of real people, no politically correct soft pedaling, no feminist agenda. This is historically based on the raw courage of the men who went toe to toe with a ruthless aggressor Empire, with only a handful of planes and the few patched up aircraft carriers which survived the Pearl Harbor sneak attack. These are the men who truly were the Thin Line between the west coast of America and conflagration by the Japanese Empire. The soldiers at Midway were the only thing standing between us and a brutal autocracy for whom the Geneva Convention meant nothing, and which slaughtered a quarter of a million Chinese as retribution for the aid given by a few dozen Chinese to a single American Squadron.

These men, many young and barely out of their teens, stood like the Spartans at Thermopalaye, with their homes almost in sight against an overwhelming Imperial military which would have shown no quarter, no mercy, no diplomacy and no compromise for anything west of the Rocky Mountains. Had the Japanese won at Midway there was a distinct possibility that everything from Seattle to San Diego would have burned, the citizens butchered or enslaved by the merciless occupying Japanese force, as they had done in China. As such, these desperate and disparate courageous men threw themselves against this juggernaut, with photos of their families tucked into the control panel, in planes technologically years behind the Japanese, flying missions which were often tantamount to suicide, with little regard for their own personal safety.

Writer Wes Tooke and director Roland Emmerich (Independence Day, The Patriot) show the stark savagery with which America was confronted, bringing to unvarnished relief the raw dauntless valor required of these American heroes. Robbie Baumgartner’s (Argo, Hunger Games) cinematography puts you in the flying seats with the pilots as they dive bomb in and out of the sky, challenging the limits of human endurance against incredible G-forces to survive the onslaught of anti-aircraft coming from the Japanese ships. The soundtrack by Harold Kloser and Thomas Wander (Independence Day, 2012)  is inspirationally stirring and evocative not only of the selfless patriotism of the country behind this effort but evocative of the very plane propellers and stuttering guns which flew like under-weaponed knights against this massive Japanese dragon.

So go see this tribute to great American soldiers who stood between us and a sadistic pitiless foe, who risked and gave their lives, not only for the just, or the good, but following Christ’s example, for every man, woman and child in America. Go see it, if for no other reason, than we owe it to their memory.

 

TAMING OF THE SHREW – CLASSIC COMEDY ON STAGE AT LAKE CHARLES LITTLE THEATRE

 

SHORT TAKE:

Fantastic production of Shakespeare’s most popular romantic comedy – Taming of the Shrew at Lake Charles Little Theatre from November 8 thru November 24, 2019 Get your TICKETS HERE!

WHO SHOULD GO:

Anyone old enough to sit through a fun and energetic full length play.

LONG TAKE:

Language immersion is a great way to learn a foreign language in all its many delights. Sous vide is a water immersion technique which gourmet chefs use to produce delectable meats. And Lake Charles Little Theatre presents a verbally and visually delicious, completely Shakespearean immersion experience, starting Friday, November 8, 2019, in their production of Taming of the Shrew, directed by 26 year stage veteran and Professor of Theatre Arts at McNeese University, Charles McNeeley, and stage managed by the tried and true staple of Lake Charles Little Theatre, Dan Sadler.

Taming of the Shrew is a love story with a twist, where the immovable object meets the unstoppable force and a most unusual courtship gets underway. Katherine, beautiful, rich and unmatchably pugnacious, must, by her mother’s decree, be wed before her demure younger sister Bianca can walk up the aisle. Providentially arrives Petruchio, set to expand his existing inherited fortunes to a wealthy woman, he launches into a bawdy, rousing, explosive battle of wills with the woman he is determined to make his wife.

Original period music written by David Ifland sets the mood in the theatre. Artist (Sean Hinchee, who also comes forth as the Haberdasher) and Fruit Vendor (Ashley Vidrine who also plays Josephine, a servant in Petruchio’s house) populate the stage providing the opening peep through this 16th century window from the comfort of your cat-bird seat. Funny, exciting, and romantic, this is Shakespeare’s most beloved battle of the sexes. The performers throw themselves – sometimes literally – into their roles, as actors enter down aisles, embrace the stage in force and occasionally even break the fourth wall.

Raye Floyd, returning to the stage for the first time since middle school, is in full on fiery Liz Taylor mode. Her rough Katherine meets her match only in  Petruchio, Louis Barrilleaux’, fresh from leads in Dirty Rotten Scoundrels and Arsenic and Old Lace, whose wildly commanding and eccentric personality is undaunted by the formidable Kate. Shakespeare’s witty banter is used to its full as these skillful thespians wrestle their way through this classic, combative and comedic courtship.

The supporting cast is also brilliant. Petruchio’s attendant, Grumio is played by Kassie Coltrin, channeling both Puck and Tinkerbell as she reacts to the insane antics of her master and new mistress. Lucentio’s Antonio Dre (Bye Bye Birdie) and Anna Sternaman’s Bianca establish an instant chemistry that make their airing an inevitability. Rebecca Harris (Arsenic and Old Lace) skillfully meets the challenge of Lucentio’s attendant, Tranio, as she is required to portray a character who portrays yet another character. Dylan Conley (Arsenic and Old Lace) plays the rebuffed suitor Hortensio with comic frustration. Taylor Novak-Tyler (Dirty Rotten Scoundrels, Bye Bye Birdie) is completely relatable as Baptista, the put upon parent of these two very different daughters. Rounding out the cast is a wonderful ensemble of veterans and newbies. Andres Germosen method acts as the comedic and elderly Gremio, third suitor to Bianca. Biondello, one of Lucentio’s servants, is Rylee Hall. Jeffrey Underwood performs as both Curtis, a servant of Petruchio and Vincentio, father to Lucentio. Aimee Mayeux (Dirty Rotten Scoundrels) does double duty as both Hortensio’s rebound wife, the Widow and as the Tailor. Philomene and Petrah, both servants of Petruchio’s house are played, respectively, by Alex Hebert and Neveah Brown. Matt Dye, on-air personality for KKGB, sports mavin and Sowela professor, does a cameo as the Merchant who pretends to be Vincentio.

The costumes are stunningly detailed and gorgeous. The backdrop warmly evocative of the time and place of 16th century Padua.

Several roles normally played by men are performed by women due to the practicalities of the available cast. They make themselves completely at home in the oft rough and tumble vaudeville antics  inherent in the action. This is completely in keeping with Shakespearean tradition inasmuch as Shakespeare had the reverse problem, for cultural and legal reasons of the time, having to employ men for women’s roles. It is one of the many genius’ of Shakespearean plot and dialogue that Will S’s universal stories, which strike deeply into the fundamentals of human nature, can be portrayed across cultural, gender and chronological lines with ease.

The cast conveys the often complex dialogue with virtuosity as the iambic pentameter comes trippingly off their tongues in a way which, with their actions and emphasis, make the Shakespearean heightened language easy to understand even for the novice.

So go see Taming of the Shrew – this funny, romantic, explosively energetic, delightful period piece of deliciously Shakespeare literature at the Bard’s story-telling best, at Lake Charles Little Theatre from November 8 through November 24, 2019. Get your TICKETS HERE! Get them early as you’ll want to see this unique romance more than once!