In the morning we shall vote just after breakfast on the way to work, it'll get
it out of the way and we won't have to worry about that for the next two years.
At ten or so in the morning, it's best to check the Drudge Report. Ol' Mattie
has access to the various exit polls and has never sighned the secrecy
agreement, so we'll know all about how the turnout is and whether to be joyous
or depressed the rest of the day.
I think that both Ras and Zogby are polling all the way to the end, which means
that noon we get to see whether they're going to be off or not.
After lunch, it's best to check Drudge again and then the various blogs who may
have managed to get their hands on some of the exit poll data. We should know
if it's going to be close or not by then either way.
Then there's dinner.
As we chow down to our tasty and nutritious meal, we get our first results.
Both Kentucky and Indiana will go for Bush. We don't care as neither of these
have EVER been swing states and the Republicans will be happy with Bush 19
Kerry 0.
We then start channel surfing. The pundits, who have all the secret data, will
dance around the fact they know who's already won in many of the states and lie
through their teeth in order to seem exited.
Seven PM: Seven more states. Now we'll know if this is going to truly be a
blowout or a squeaker:
Bush 46 Kerry 7. Plus Ohio. If they call Ohio for Kerry, it's going to be a
very long night, if Bush, we might as well go to sleep early.
Seven thirty: Bush 66 Kerry 7. Democrats are looking at Ohio with baited
breath, Bush has a substantial lead in the popular vote, which isn't shown much
on any of the channels.
Eight: Bush 150 Kerry 113. Ohio is still neck and neck and nobody's going to
call Florida this early. If they call Florida for either candidate, it may not
be over, but the legions of lawyers are going to be put on alert.
eight thirty: Arkansas goes for Bush and every Democrat goes "Damn!" under his
or her breath.
Nine: Bush 185 Kerry 165. Now things begin to get exiting. Ohio has Kerry ahead
by just under two thousand and Bush is ahead in Florida by slightly more than
he won it the last time. Minnestoa is going Kerry's way but not enough to get
it called. Bush is still substantially ahead in the popular vote, and this is
because he's blowing Kerry away in many of the red states. Wisconsin is
see-sawing between Bush and Kerry.
Ten: Bush 202 Kerry 172 The Republicans are beginning to look a bit worried, as
Kerry's lead in Ohio begins to cease being miniscule. Kerry's passed Bush in
Florida, but not by much,
Ten thirty: Bush wins Iowa. Democrats look awful until at around a quarter to
eleven, Ohio is given to Kerry. The score Bush 209 Kerry 192
Eleven: Bush 216 Kerry 256. Soon after, Kerry wins wisconsin, giving Kerry 266
and Florida is called around 11:30, giving Kerry a majority of 288 to Bush's
219. Kerry is still about a million votes behind Bush and the commentators are
discussing what the hell is going on. Kerry didn't win most of his states by
that much and the Bush people are claiming fraud. But Bush was getting 70% of
the vote in some of the red states...Time to go to bed...for the post mortems
can wait until the morning....
Saturday, October 23, 2004
Friday, October 01, 2004
Just to see if anyone's out there...
Every year there are hundreds of film festivals, but there are four that stand out above the others: Sundance, Cannes, Venice and Toronto. These are the ones that make headlines above and beyond the cities they’re in and while New York has some great stuff and Telluride is cozy, the big four made headlines throughout the world.
Toronto, the jewel of Canada, is last of the big four. There are literally hundreds of films being screened during the ten days of the festival and except for a few local critics who’ve been viewing a couple entries a day for months, it’s impossible to see anywhere near anything.
So, if you’re lucky enough to live in NY or LA, you can get to see maybe five or ten before you leave home. What I do is leave a couple of days early and have dinner with my friend Kevin and his wife Lucy before taking in a few of the advanced screenings.
The last of the advanced screenings are at the National Film Board screening room down by where the local TV/Radio conglomerate is having it’s annual party for the festival, and as usual, I’m not invited. But then I’m not going to any of the parties this year. There’s nothing but movies movies and more movies. It’s either one or the other. You can’t do both.
So I head south from my ratty hotel on Church and Dundas streets [right next to the subway], and head over to the venue. It’s my fifth year and doing this is like putting on an old glove, except that I stay at a different hotel every year.
So with that "same as it ever was" attitude I bring with me I try to find where the entrance to the venue is this year. For some reason they’ve closed the regular entrance, and after a bit of looking, I find a sign. So far so good.
Then, at last, we get in our seats and look around for familier faces. There’s a few and we greet each other and promise to gossip when the first film is over…
Our first flick of the festival is Hari Om an Indian story of a girl left behind (Camille Natta) and her meeting the eponymous rickshaw driver(Vijay Raaz), who happens to be on the run. So she decides to follow her boyfriend(Jean Marie Lamour) to the next stop on the train and somehow, our hero finds our heroine at the side of the road [the bus had a flat of course], the two of them take the rickshaw [a motorcycle kind of thing, not a seat with wheels powered by a guy running] and go across India where they meet several interesting people and sort of fall in love before our hero has to start a worker's rebellion and the boyfriend .
It’s actually not that bad…
Our second selection is Forest for the Trees which is a sad tale of a reletively nice person(Eva Löbow) who’s looking to start her life over. Unfortunately, she makes a botch of it and spends her life lonelier than ever. It’s depressing as hell, but Löbow is a brilliant actress and is cute as a button and is terrific as the protagonist. I'm not sure if it's worth the bucks, and I don't think it's going to come to the arthouse anytime soon, so don't sweat it.
Our third selection for the day is an exercise in Weirdness for Weirdness' sake. Innocence is about a bizarre prison/ballet school for a select group of little girls who enter the place in a coffin and are told weird stories about kids who try to escape and are turned into old hags who must serve the girls forever and the like. The whole thing is very strange and not very effecting, and the ending is particularly dissapointing...we were hoping for more murders....bummer.
The discovery of the day is that the daypasses don't work until 9:30 which makes them almost useless, me having to get to at least half a dozen places in the early morning...%^&*
So the next day, we head up to the Transit authority to figure out what to do with the extra day pass, we argue and a compromise is reached. That being done we head south to the NFB and see what’s apparently the only film of the day:
One of the themes this year is the Rwandan genocide of 1994. There are a number of films on the subject and the first I've seen is Shake Hands with the Devil which is about Canadian General Roméo Dallier, who was the head of the UN peacekeepers in that godforsaken place when the lord forsook it a decade ago.
He returned for a confrence and the filmmaker Peter Raymont decided to tag along, and the results are both infuriating and heartbreaking. One tends to wonder if the wanten murder of between 800,000 and a million people killed mostly with machettés could have been prevented, and if Dallier could have done more in that direction. But the simple fact is that while it probably could have and he couldn't.
There was plenty of blame to go around, could the French told the perpetrators to not go there? Should the UN have gone to war when there were two thousand UN troops briefly there to get foreign nationals out? One could go on for months on this topic.
But the simple fact is nobody did a damn thing and then nobody did anything after that. What did happen is that Dallaier was kicking himself about it ever since.
This film is especially important when we see what's going on in Durfar, Sudan.
The reason nobody did anything was simple, by the way. Look at how Bush was treated over Iraq...in other words the world would go nuts blaming the rescuers and nobody wants that.…
Finally, we head up to the press office and get our credentials. There were problems over the summer as none of the hotels in the area wanted to deal with the press and refused to house the thing, so they had to rent an office in the Cumberland mall, which turned out to be extremely convenient. They had wireless internet, and the underground tunnels made life much easier for me and all involved.
I always knew that there were tunnels underneath Bloor street, where the main venue for press screenings were, but I’ve never had to actually use them before. This year is different. One just gets off the subway and then goes through a series of tunnels and violá, you’re there, and you don’t have to dodge traffic. This would be routine for most of the next eight days.
The routine was for the most part the same. Five to seven screenings a day, one party and one of the panels, actually an interview with Terry Gilliam that was called misleadingly called a master class, but more on that later.
The venues were primarily at the Variety multiplex, which for hundreds of us critics was our home away from home. There are seven large screening rooms and three smaller ones, which made travelling between them rather easy…that is unless one discovered that you had to go over to the Cumberland theater about four blocks away, then you could either dodge traffic or use the tunnels to wind up across the street and run like hell, something I did rather frequently during my time up there.
But Toronto is famous for scheduling conflicts, and this year was no exception, as one friend told me "You don’t see what you want to in Toronto, you see what you can."
The way to deal with conflicts is to find out where the public screenings are and if it’s possible to get on the "rush line." I tried that three times and managed to get in twice.
For the public screenings, getting there’s a bit more tricky. There’s the Ryerson theater at the college of the same name about a half a mile from the Variety multiplex. When I was there, they had a false alarm and we had to wait out in the courtyard for almost a half hour. Nothing like that happened at the Paramount Googleplex, which was across the street from the NFB office and has some really good seats. Finally, there’s the Famous Players screening room, which is next door to the Cumberland inside a dank basement.
Thus was the routine for the great Sitzfleich marathon, my personal best from last year is five: will I manage to break the record?
We wake up sometime around a quarter of seven and do the normal morning ablutions, then we take the subway up to Bloor street where we head to one of the local cafes (either Starbucks, Timothy's or some other trendoid place) before heading over to the Variety multiplex in where one takes one's seat for the first screening of the day, which is about 8:30 AM, which is usually too early to go to the movies but this is Toronto…
Today, we begin with James Toback's When Will I Be Loved?:
So what are we to make of this female revenge fantasy? When we first meet Vera (Neve Campbell), she’s doing a walking job interview with a weird professor of African studies(James Toback), while her boyfriend Ford (Frederick Weller) is lying his way through a whole bunch of silly situations. Ford, it seems is a two-bit hustler with delusions of grandeur.
These delusions are fed by the fact that we see him doing three models at once in the middle of central park, and the fact that when he accosts the zillionaire Italian Count Tommasso Lupo(Dominc Chianese), the Count responds positively. What is going on?
What’s going on is that the Count has fallen in lust with Vera and Ford has decided to pimp her our for a hundred thousand dollars. Will Vera do it?
Do we care?
The answer is ambiguous. We don’t like any of these characters. They’re mean and unappealing. On the other hand, Toback’s writing is very funny and the dialogue is something that’ll keep you in your seat. In fact it’s rather fun to watch.
We then head off to pick up the morning's mail, which contains the same stuff as yesterday's mail. Which is very strange indeed....I picked it up yesterday! Then I discover that I missed the next film, so I wander into the nearest screening room and find a thing called "Tarnation" which is the cheapest film ever to raise it's head here in Toronto. It's a cinematic autobiography of Jonathan Caoette a minor actor who's never hit it big. He used a mac and various generations of video. It's actually quite interesting and trippy in parts...next we do lunch, which means one of Toronto's famous hot dogs before going to our next selection: a thing called Whiskey Romeo Zulu....
Around five or six years ago, a Argentine airliner crashed, killing quite a few people. It seems that for a number of years a pilot named Enrique Piñero had been trying to call attention to the problems the airline in question was having and, like most whistleblowers, was first grounded and then forced to resign.
His revenge was twofold: First he gave all the information he had to the authorities. Then, he became a movie star, and after a number of years was famous enough to get his side of the story made into a movie written, directed and starring himself, a pretty nifty trick if you think about it.
What’s even niftier is that Piñero has made a truly great film, He’s a fine actor, the directing is even better and the writing is clear, crisp and direct. The other actors, as the prosecuter and as the childhood friend who becomes his confidant and then turns on him, are even better.
Now that he has this whole thing out of his system, maybe he can now go on and become the auteur he has the talent to become.
Next is a gem called Private:"
Now one can’t really trust what the Europeans have to say on the subject of the Middle East Crisis, they’ve long ago given their support to the Palestinians in their effort to drive the Jews into the sea. But sometimes we have an interesting take on the subject.
Fighting terrorism near it’s border with the territories, a small contingent of Israeli soldiers is assigned to take over a strategically placed house, and orders the family out. The problem is that said family won’t leave, and this leads to a standoff of sorts, with the Israelis taking the second floor and the Palestinians keeping the first. It’s sympathetic to the Palestinians, of course, the family is the focus of the film, but we get to see the Israelis too and they’re also shown in a somewhat sympathetic light as one of the daughters of the family hides in the closet and observes them in their day to day activities.
It was surprisingly even-handed. It’s clear that writer/director Savario Constanzo gave this lots of thought and is even slightly pro-Israeli. (otherwise it wouldn't have played there and have some of the Jewish state's heart-throbs as the soldiers).
And so it goes on and on, getting up early in the morning and coming home around nine or so dead on my feet…..
[stick reviews in here-eric l.]
So we managed to get a total of 45 films in all told and a personal best of seven in one day. The films ranged from Animated cartoons for children [Shark Tale] to hard core gay porn [the Raspberry Reich]. I’m stoked for next year.
Toronto, the jewel of Canada, is last of the big four. There are literally hundreds of films being screened during the ten days of the festival and except for a few local critics who’ve been viewing a couple entries a day for months, it’s impossible to see anywhere near anything.
So, if you’re lucky enough to live in NY or LA, you can get to see maybe five or ten before you leave home. What I do is leave a couple of days early and have dinner with my friend Kevin and his wife Lucy before taking in a few of the advanced screenings.
The last of the advanced screenings are at the National Film Board screening room down by where the local TV/Radio conglomerate is having it’s annual party for the festival, and as usual, I’m not invited. But then I’m not going to any of the parties this year. There’s nothing but movies movies and more movies. It’s either one or the other. You can’t do both.
So I head south from my ratty hotel on Church and Dundas streets [right next to the subway], and head over to the venue. It’s my fifth year and doing this is like putting on an old glove, except that I stay at a different hotel every year.
So with that "same as it ever was" attitude I bring with me I try to find where the entrance to the venue is this year. For some reason they’ve closed the regular entrance, and after a bit of looking, I find a sign. So far so good.
Then, at last, we get in our seats and look around for familier faces. There’s a few and we greet each other and promise to gossip when the first film is over…
Our first flick of the festival is Hari Om an Indian story of a girl left behind (Camille Natta) and her meeting the eponymous rickshaw driver(Vijay Raaz), who happens to be on the run. So she decides to follow her boyfriend(Jean Marie Lamour) to the next stop on the train and somehow, our hero finds our heroine at the side of the road [the bus had a flat of course], the two of them take the rickshaw [a motorcycle kind of thing, not a seat with wheels powered by a guy running] and go across India where they meet several interesting people and sort of fall in love before our hero has to start a worker's rebellion and the boyfriend .
It’s actually not that bad…
Our second selection is Forest for the Trees which is a sad tale of a reletively nice person(Eva Löbow) who’s looking to start her life over. Unfortunately, she makes a botch of it and spends her life lonelier than ever. It’s depressing as hell, but Löbow is a brilliant actress and is cute as a button and is terrific as the protagonist. I'm not sure if it's worth the bucks, and I don't think it's going to come to the arthouse anytime soon, so don't sweat it.
Our third selection for the day is an exercise in Weirdness for Weirdness' sake. Innocence is about a bizarre prison/ballet school for a select group of little girls who enter the place in a coffin and are told weird stories about kids who try to escape and are turned into old hags who must serve the girls forever and the like. The whole thing is very strange and not very effecting, and the ending is particularly dissapointing...we were hoping for more murders....bummer.
The discovery of the day is that the daypasses don't work until 9:30 which makes them almost useless, me having to get to at least half a dozen places in the early morning...%^&*
So the next day, we head up to the Transit authority to figure out what to do with the extra day pass, we argue and a compromise is reached. That being done we head south to the NFB and see what’s apparently the only film of the day:
One of the themes this year is the Rwandan genocide of 1994. There are a number of films on the subject and the first I've seen is Shake Hands with the Devil which is about Canadian General Roméo Dallier, who was the head of the UN peacekeepers in that godforsaken place when the lord forsook it a decade ago.
He returned for a confrence and the filmmaker Peter Raymont decided to tag along, and the results are both infuriating and heartbreaking. One tends to wonder if the wanten murder of between 800,000 and a million people killed mostly with machettés could have been prevented, and if Dallier could have done more in that direction. But the simple fact is that while it probably could have and he couldn't.
There was plenty of blame to go around, could the French told the perpetrators to not go there? Should the UN have gone to war when there were two thousand UN troops briefly there to get foreign nationals out? One could go on for months on this topic.
But the simple fact is nobody did a damn thing and then nobody did anything after that. What did happen is that Dallaier was kicking himself about it ever since.
This film is especially important when we see what's going on in Durfar, Sudan.
The reason nobody did anything was simple, by the way. Look at how Bush was treated over Iraq...in other words the world would go nuts blaming the rescuers and nobody wants that.…
Finally, we head up to the press office and get our credentials. There were problems over the summer as none of the hotels in the area wanted to deal with the press and refused to house the thing, so they had to rent an office in the Cumberland mall, which turned out to be extremely convenient. They had wireless internet, and the underground tunnels made life much easier for me and all involved.
I always knew that there were tunnels underneath Bloor street, where the main venue for press screenings were, but I’ve never had to actually use them before. This year is different. One just gets off the subway and then goes through a series of tunnels and violá, you’re there, and you don’t have to dodge traffic. This would be routine for most of the next eight days.
The routine was for the most part the same. Five to seven screenings a day, one party and one of the panels, actually an interview with Terry Gilliam that was called misleadingly called a master class, but more on that later.
The venues were primarily at the Variety multiplex, which for hundreds of us critics was our home away from home. There are seven large screening rooms and three smaller ones, which made travelling between them rather easy…that is unless one discovered that you had to go over to the Cumberland theater about four blocks away, then you could either dodge traffic or use the tunnels to wind up across the street and run like hell, something I did rather frequently during my time up there.
But Toronto is famous for scheduling conflicts, and this year was no exception, as one friend told me "You don’t see what you want to in Toronto, you see what you can."
The way to deal with conflicts is to find out where the public screenings are and if it’s possible to get on the "rush line." I tried that three times and managed to get in twice.
For the public screenings, getting there’s a bit more tricky. There’s the Ryerson theater at the college of the same name about a half a mile from the Variety multiplex. When I was there, they had a false alarm and we had to wait out in the courtyard for almost a half hour. Nothing like that happened at the Paramount Googleplex, which was across the street from the NFB office and has some really good seats. Finally, there’s the Famous Players screening room, which is next door to the Cumberland inside a dank basement.
Thus was the routine for the great Sitzfleich marathon, my personal best from last year is five: will I manage to break the record?
We wake up sometime around a quarter of seven and do the normal morning ablutions, then we take the subway up to Bloor street where we head to one of the local cafes (either Starbucks, Timothy's or some other trendoid place) before heading over to the Variety multiplex in where one takes one's seat for the first screening of the day, which is about 8:30 AM, which is usually too early to go to the movies but this is Toronto…
Today, we begin with James Toback's When Will I Be Loved?:
So what are we to make of this female revenge fantasy? When we first meet Vera (Neve Campbell), she’s doing a walking job interview with a weird professor of African studies(James Toback), while her boyfriend Ford (Frederick Weller) is lying his way through a whole bunch of silly situations. Ford, it seems is a two-bit hustler with delusions of grandeur.
These delusions are fed by the fact that we see him doing three models at once in the middle of central park, and the fact that when he accosts the zillionaire Italian Count Tommasso Lupo(Dominc Chianese), the Count responds positively. What is going on?
What’s going on is that the Count has fallen in lust with Vera and Ford has decided to pimp her our for a hundred thousand dollars. Will Vera do it?
Do we care?
The answer is ambiguous. We don’t like any of these characters. They’re mean and unappealing. On the other hand, Toback’s writing is very funny and the dialogue is something that’ll keep you in your seat. In fact it’s rather fun to watch.
We then head off to pick up the morning's mail, which contains the same stuff as yesterday's mail. Which is very strange indeed....I picked it up yesterday! Then I discover that I missed the next film, so I wander into the nearest screening room and find a thing called "Tarnation" which is the cheapest film ever to raise it's head here in Toronto. It's a cinematic autobiography of Jonathan Caoette a minor actor who's never hit it big. He used a mac and various generations of video. It's actually quite interesting and trippy in parts...next we do lunch, which means one of Toronto's famous hot dogs before going to our next selection: a thing called Whiskey Romeo Zulu....
Around five or six years ago, a Argentine airliner crashed, killing quite a few people. It seems that for a number of years a pilot named Enrique Piñero had been trying to call attention to the problems the airline in question was having and, like most whistleblowers, was first grounded and then forced to resign.
His revenge was twofold: First he gave all the information he had to the authorities. Then, he became a movie star, and after a number of years was famous enough to get his side of the story made into a movie written, directed and starring himself, a pretty nifty trick if you think about it.
What’s even niftier is that Piñero has made a truly great film, He’s a fine actor, the directing is even better and the writing is clear, crisp and direct. The other actors, as the prosecuter and as the childhood friend who becomes his confidant and then turns on him, are even better.
Now that he has this whole thing out of his system, maybe he can now go on and become the auteur he has the talent to become.
Next is a gem called Private:"
Now one can’t really trust what the Europeans have to say on the subject of the Middle East Crisis, they’ve long ago given their support to the Palestinians in their effort to drive the Jews into the sea. But sometimes we have an interesting take on the subject.
Fighting terrorism near it’s border with the territories, a small contingent of Israeli soldiers is assigned to take over a strategically placed house, and orders the family out. The problem is that said family won’t leave, and this leads to a standoff of sorts, with the Israelis taking the second floor and the Palestinians keeping the first. It’s sympathetic to the Palestinians, of course, the family is the focus of the film, but we get to see the Israelis too and they’re also shown in a somewhat sympathetic light as one of the daughters of the family hides in the closet and observes them in their day to day activities.
It was surprisingly even-handed. It’s clear that writer/director Savario Constanzo gave this lots of thought and is even slightly pro-Israeli. (otherwise it wouldn't have played there and have some of the Jewish state's heart-throbs as the soldiers).
And so it goes on and on, getting up early in the morning and coming home around nine or so dead on my feet…..
[stick reviews in here-eric l.]
So we managed to get a total of 45 films in all told and a personal best of seven in one day. The films ranged from Animated cartoons for children [Shark Tale] to hard core gay porn [the Raspberry Reich]. I’m stoked for next year.
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