Movies Dearz

From Douglas Fairbanks in The Thief of Bagdad to Peter O’Toole in Lawrence of Arabia, the movies have always been enamored with heroic stars in fantastic epics set in the fabled mystic lands of the Middle East. With sprawling vistas of unending sand dunes as a backdrop, these adventures hold their audiences in thrall as they unfold, led by a larger-than-life main character who may or may not have a magic lamp or flying carpet on hand to aid in all the swashbuckling derring-do. The latest actor to take on such a role, in Prince of Persia: The Sands of Time (in theaters now), is Jake Gyllenhaal.


Best known for his performances as wide-eyed teens in October Sky and Donnie Darko and his Oscar nominated turn in the modern classic Brokeback Mountain, Gyllenhaal is an unexpected choice for a big Hollywood summer movie like this one, but he rises to the occasion. All toned and scruffy, he tackles (literally) each of the (many) action sequences with a leading man bravado and a sly gleam in his eyes that anchors this better-than-average video game adaptation. Without Jake, the movie would drift off the screen as easily as sands through an hourglass ...

UPDATE: Prince of Persia: The Sands of Time is now available on DVD and Blu-ray from Amazon.com.

Click here to continue reading my Toon Talk review of Prince of Persia: The Sands of Time at LaughingPlace.com.

With the close of the 2009-2010 Broadway season, it is time to take a look back at the three revivals and one original musical (all Tony Award nominees) that braved the transition From Screen to Stage and pick your favorite (click on titles for video clips):

• The Addams Family -  Charles Addams' famous comic strip brood, previously seen on screens both big and small, now live (or is that dead?) onstage.
• La Cage aux Folles - First a play then a movie then a musical, this drag-tastic hit revival leads the Tonys with 11 nominations.
• A Little Night Music - The Stephen Sondheim classic, based on the Ingmar Bergman film Smiles of a Summer Night.
• Promises, Promises - Gay faves Sean Hayes and Kristin Chenoweth star in this musical adaptation of The Apartment.

Place your vote in the MD Poll located in the right hand sidebar, and check back in three weeks for the results!

UPDATE: This poll is now closed; click here for the results, and click here to vote in the latest MD Poll.

When it comes to movies adapted from TV shows, Movie Dearest readers prefer them "Bigger, Longer and Uncut".

That's right, South Park reigned in a narrow victory over The Fugitive, while Sex and the City and Star Trek tied for third place. See the comments section below for the complete results.

There was no shortage of lei-decked celebrities and cast members clad in grass skirts at Wednesday night's Los Angeles premiere of the Broadway/Lincoln Center revival of South Pacific. Among the former were Mitzi Gaynor (who starred in the musical's 1958 film version and who looks amazing), Shirley Jones, Monty Python's Eric Idle, and out actor-comedian Alec Mapa.

The production, directed by Bartlett Sher (who was also in attendance), was honored with seven 2008 Tony Awards, including Best Revival of a Musical. Since this is the Pulitzer Prize-winning chestnut's first Broadway revival since the 1948 original, expectations for the touring company's LA stop have been high and mine were mostly fulfilled.


In terms of stagecraft and performances, kudos are indeed deserved. Michael Yeargan's evocative sets provide just the right geographical and historical atmosphere for a story that details the lives and loves of men and women — both native and transplanted — inhabiting the islands during World War II. The full orchestra and the cast's vocal prowess do splendid justice to Richard Rodgers and Oscar Hammerstein II's score, which includes such standards as "Some Enchanted Evening," "There is Nothin' Like a Dame," "Bali Ha'i" and "I'm Gonna Wash That Man Right Outa My Hair," to name only a few.

But the melodramatic excess of the musical's book, adapted by Hammerstein and Joshua Logan from James A. Michener's novel Tales of the South Pacific, is more apparent now than ever. This is partly the result of changing theatrical sensibilities with the passage of time, but it doesn't excuse the fact that the show's first act in particular is hardly a classic of dramatic construction. At one hour and 45 minutes, it is painfully overlong, especially since it consists almost entirely of character and romantic development. Sher's addition of some rear male nudity and a same-sex kiss perk things up, but only momentarily.


The second act, which picks up one week after the first, is decidedly more engrossing. Arkansas-bred Naval nurse Nellie Forbush (a fine Carmen Cusack) confronts her racist attitudes — which are more bluntly apparent under Sher's direction than in prior productions — while plantation owner Emile deBecque (renowned baritone Rod Gilfry) and Marine Lt. Joseph Cable (Anderson Davis, who sports an exquisite singing voice as well as a chiseled physique) embark on a dangerous mission to spy on the Japanese. Act II also benefits from the annual "Thanksgiving Follies" show-within-a-show, which features the sprightly "Honey Bun" production number.

The cast is superb. In addition to those already mentioned, it is worth singling out Matthew Saldivar as the comically-conniving Luther Billis, Keala Settle as a lovable but more desperate than usual Bloody Mary, Gerry Becker as Captain George Brackett and the lovely Sumie Maeda as Liat, Bloody Mary's destined-for-disappointment daughter.


Despite the script's shortcomings, this South Pacific is well worth seeing for its top-tier production values and, of course, the opportunity to hear its legendary score live. On that note, no pun intended, I feel an obligation to mention how disappointed I was by the behavior of the opening night audience during the musical's overture. Too many latecomers were still distractedly finding their seats, and plenty of those already seated felt compelled to talk throughout. Everyone finally quieted once the house lights were dimmed fully.

While some modern musicals don't feature overtures, they are hardly a thing of the past. Even if they were, the median age of the opening night crowd would betray any potential claims of ignorance regarding theatre-going courtesy. Folks, once the music starts it's time to sit down, shut up and listen. Even Bloody Mary's shrunken heads have more common sense.

South Pacific continues at the Ahmanson Theatre through July 17.

Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Orange County and Long Beach Blade.

They say, “If you’re not angry, you’re not paying attention.” Reed Cowan knows this well. As a gay Mormon, he’s experienced discrimination and abuse, and as a filmmaker, he’s received death threats for “mocking God”. Cowan originally planned to make his documentary about gay teen homelessness and suicide in Utah, but as the events of Proposition 8 and the Mormon Church’s covert involvement became known, he knew what the real subject would be.

8: The Mormon Proposition is a riveting and incendiary condemnation of the Mormon Church’s more barbaric practices and attitudes. Targets include the Church hierarchy, captured on recordings and in letters laying out a detailed battle plan to derail marriage equality, first in Hawaii and then in California, as well as strong arm techniques used to compel members to donate to the anti-gay legislation. The scenes of homeless youth and accounts of teen suicide are still included, but they come late in the film, more as a way to show the harsh and unforgiving church tenets that tear families apart. The hopeful story of newly married Tyler Barrick and Spencer Jones is contrasted with the crazy musings of folks like Utah State Senator Chris Buttars, who likens gays to radical Muslims and accuses them of engaging in “pig sex”.


The film is narrated by screenwriter Dustin Lance Black, who won an Oscar for Milk, and his passionate delivery combines with personal accounts of Mormons like writer Carol Lynn Pearson to create the perfect wake-up call. If Fox News, the Mormon Church and other equally overreaching religious leaders can inflame the right wing to enact travesties like Prop 8 and the recent Arizona Immigration law, it seems only fair that 8: The Mormon Proposition returns the favor.

I wanted to hear from Cowan now that his film is reaching a broader audience after its buzz-worthy premiere at Sundance; it opens in theaters on June 18 followed by a DVD release on July 13. He challenged audiences to let the film spur them to action.

NC: Your film really stirs up a lot of anger in people that a church would focus so strongly on denying the rights of non-members (since the Mormon Church doesn't accept homosexuality in its followers). What did you hope to accomplish with the film? What can viewers do to fight back against this kind of campaign?
RC: I would hope the film would stir up more of what the bible calls “righteous indignation”. What I mean by that is that I think anger is an empty emotion unless it is not channeled in to something substantive and positive. We have to learn from the history that is Prop 8. And we have to be stirred up to action through a healthy dose of indignation. What can viewers do? Simple. Don’t spend your money where it will end up being used against the equality of all people and don’t elect people who hold bigoted views. Also, demand that the IRS hold accountable any religion or 501(c) (tax-exempt organization) who participates in politics such as the Mormon Church did.


NC: A fellow reviewer (who's Catholic) felt that you let the Roman Catholic Church off the hook for their work to pass Prop 8. Here in Arizona, the Bishop sent around a video to be shown during church services telling parishioners to vote for our version (Prop 102). What was your opinion of other churches that overstepped the separation of church and state?
RC: All churches who cross the boundaries between church and state are up for examination and criticism as long as our nation desires a democracy and not a theocracy. For years, Mormon leaders have intimated that they were invited to join a coalition and I believe hid behind Catholics and their leaders. I'm proud that our film vindicates good Catholics who have been pushed out in front by Mormons — and as a result took heat. The fact is, Mormons organized the coalition. And they let Catholics take the fall. I have heard from thinking Catholics who appreciate the record being set straight. True, Catholic leaders have fought against marriage equality. But they were not the leaders of the crusade.

NC: What is the Mormon Church's reaction to the film?
RC: Their leaders are on record saying they haven't seen the film, but that it lacks truth. I think that's strange. "We haven't seen it, but look elsewhere for truth." We held seats for Mormon leaders in every screening of the film. So far, none have taken us up on it. Additionally, we have asked Mormon leaders to articulate what is inaccurate about our film so that we can perhaps reflect more accuracy. So far ... Mormon leaders have not done that.

NC: What have you heard from GLBT Mormons and other viewers about the film?
RC: Tears of gratitude. Some of the most poignant reactions can be seen at the 8: The Mormon Proposition page on Facebook.


NC: What is your personal stake in the film and the events it depicts? How has your life changed since playing at the Sundance Film Festival (in Utah, no less)?
RC: It isn't about my personal stake. It's about the interests of my children who are being raised in a same sex relationship that is not protected by the laws of this land. My life has changed in many ways. Most of all, I feel like I've become a man because of this. Meaning, I always heard people talk about that time in life when you take notice of the fact that you have come of age, become a man. This fight has done that. It has set me apart from the religion of my birth, from my family ... and set me on a path of fighting for what I believe in: equality for all.

NC: What will you tackle next? What is the next stage of the equality fight?
RC: Well, for now I'm doing all I can to make sure that 8: The Mormon Proposition is the best it can be for the audience who deserves it. As to the next stage in the equality fight, I predict some shifts. I predict some of the mainstream gay advocacy organizations will either change radically or be replaced by a youth-driven grass roots approach.

UPDATE: 8: The Mormon Proposition is now available on DVD from Amazon.com.

Interview by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.

In celebration of Gay Pride month, Movie Dearest once again offers up a special calendar wallpaper for June paying tribute to some of the best in queer cinema.

The 2010 edition features such old and new GLBT favorites as Victim, Milk, The Children's Hour, Fried Green Tomatoes, To Wong Foo, Thanks for Everything! Julie Newmar, Noah's Arc: Jumping the Broom, Infamous, XXY, Aimée & Jaguar, Kiss of the Spider-Woman and Ciao.

All you have to do is click on the picture above to enlarge it, then simply right click your mouse and select "Set as Background". (You can also save it to your computer and set it up from there if you prefer.) The size is 1024 x 768, but you can modify it if needed in your own photo-editing program.

This summer is shaping up to be the season of the women’s film, be they frivolous (Sex and the City 2), thought-provoking (Please Give) or in the case of Rodrigo García’s Mother and Child, a fourteen-hanky ensemble drama. All three films overflow with fantastic performances, especially Catherine Keener in Please Give and Annette Bening and Naomi Watts in Mother and Child.

García’s films are female-driven (Nine Lives and Things You Can Tell Just By Looking at Her) and he’s masterful at getting rich, raw and sometimes ugly performances from his actresses. Bening is Oscar-worthy as Karen, an ice cold physical therapist who cares for her aged mother and mourns the baby girl she gave up for adoption when she was only fourteen. Watts is equally chilly as a driven lawyer who uses sex as a weapon of control, and who, it turns out (no spoiler), is Bening’s long lost daughter. Cherry Jones (Doubt’s original Sister Aloysius) returns to the nunnery as a sister in charge of adoptions with connections to Bening, Watts and Kerry Washington, who plays an infertile wife desperate to adopt. García’s world is one in which redemption is possible, but fate is almost melodramatically cruel.


Bening is almost hard to watch at first; she is so tightly-wound you fear her snapping. When she meets Jimmy Smits, as a fellow therapist, and her walls fall, your heart blooms along with hers when she lets him in. Watts’ Elizabeth is as hard as her mother, refusing to let anyone close to her, until she’s faced with parenthood herself. Washington is heartbreaking as a woman who wants a baby, despite what life and other people have in store for her. In addition to Jones and Smits, Samuel L. Jackson and S. Epatha Merkeson give powerful, non-showy work that adds great depth to the drama.

If you don’t mind sobbing like a baby at the movies, take time to meet this Mother and Child.

UPDATE: Mother and Child is now available on DVD and Blu-ray from Amazon.com.

Review by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.