Tag Archives: Greetings from Africa

Sum Up | 2018 in Review

I didn’t have any big plans for The Stop Button in 2018 other than blogathons and whatever came up. Comics Fondle I was reading all of Love and Rockets, which took more than 2018. But Stop Button… well, marathon training. It was going to take up a lot of time.

Of the 157 feature films… the three best films I watched were Seven Samurai, 2001: A Space Odyssey, and The Best Years of Our Lives. I’d seen all those films before (though it’d been a long time on each of them); the best films I saw for the first time were Get Out, Frances Ha, Sunset Blvd., Only Angels Have Wings, and Jour de fête. No order on any of these lists.

BestWorst
Seven SamuraiGuardians of the Galaxy 2
2001: A Space OdysseyGreat Monster Varan
The Best Years of Our LivesThe Incredible Hulk Returns

However, when it comes to the worst films I watched this year? I’ll give it to Guardians of the Galaxy 2, which I truly loathed, Great Monster Varan, which broke the cardinal rule of kaiju–it was boring–and The Incredible Hulk Returns, which I remembered from childhood and felt great shame. Not for the “Incredible Hulk” TV show, but for that first TV movie. I haven’t been able bring myself to watch the other two yet.

Speaking of superheroes… most of the recent movies I watched were comic book movies. Black Panther, Dr. Strange, Thor 3, Ant-Man 2, Avengers 4, Venom, Aquaman, (ugh) Guardians 2, also Darkman, which I’d watched since starting the blog for the Alan Smithee Podcast but never written about. And the long-anticipated Superman: The Movie: The Extended Version, which is a mess but rather informative about how narrative editing works for a film. Also the second “Hulk” TV pilot movie. Oh, and two Superman serials, one Dick Tracy one, one Batman one.

Best comic book movies I watched were Black Panther and Avengers 4.

Sequels I watched a bunch. Five total Puppetmaster movies (one and the four sequels). Westworld and Futureworld. Star Wars: Episode 8. Good, the Bad, and the Ugly (the first Leone Western I’ve written about). Mission: Impossible 6 and 5. Magic Mike 2 (haven’t seen the first). Die Hard 3 (after meaning to watch it again for, you know, a decade). Creed II (it might be the only Stallone movie on the blog this year, which is something). And then some Halloween movies. I watched the Joe Chappelle travesty again, then the crappy Rob Zombie ones in their theatrical cuts for the Sum Up post I really didn’t want to do. After seeing H40, I decided to scrap that post. Not worth editing, even though I had it fully drafted. That one killed Sum Up enthusiasm even more than Godzilla Showa.

Then there were the sequel serials. The aforementioned Batman and Superman ones. Also Flash Gordon 2. I also watched Judex, which is actually good (the first actually good serial I’d seen in ages), The Clutching Hand, which was godawful and stopped me watching serials, The Phantom Creeps, which was godawful but no Clutching Hand, and Dick Tracy, which was godawful but no Phantom Creeps. When I tried to keep the interest with Flash Gordon 2 and it disappointed… well. I can’t do the serials for a while. I think I might have watched the first chapter of The Shadow and not even posted it because the serial was such a noodle.

As usual, there was more horror than one would think. The Puppetmaster series, House, DeepStar Six, Shadow of the Vampire, Stepford Wives, Babadook, Quiet Place, Let Me In, Sleepwalkers, The Descent, The Witch. Some major disappointments; I expected too much from House and Six though. Those two are on me. The biggest surprise was probably that one good Puppetmaster movie.

Foreign movies I didn’t watch anywhere near as many as I always mean to watch. Worse, the two Bergman’s disappointed (to various degrees)–Autumn Sonata and Through a Glass Darkly. Aforementioned Jour de Fete was excellent. And Delicatessen held up. I’d been meaning to watch it again.

My highly anticipated first viewings not including the aforementioned “best of”) were Giant, Blade Runner 2, The Gay Falcon, The Other Side of the Wind, Lonelyhearts, The Cheap Detective, Sometimes a Great Notion, Quiet Place, The Witch, and–to some degree–All That Heaven Allows. Most disappointing is of course Other Side of the Wind, but worst is Gay Falcon.

Highly anticipated repeat viewings (also not including the aforementioned “best of”). Goodfellas, Delicatessen, Street Smart, Naked Alibi, Vivacious Lady, You Can’t Take It With You, Die Hard 3. Goodfellas was kind of a shock but also inevitable (whereas Naked Alibi and Street Smart were just inevitable). Vivacious Lady was a pleasant surprise.

Now, of those forty-four short films, the big focus was the “Peanuts” television specials. I managed to keep going on those ones even after it became clear it was going to be rough at times. I made the only video I made this year because of one. It’s Snoopy but Wicker Man, get it?

I also watched all of Cheryl Dunye’s early short films, which was awesome. Around twenty years after first reading about Dear Diary I finally saw it and, wow, no. The Edison Frankenstein is great though. I also finally finished up the forties Superman cartoons; most of them are bad. I’d been meaning to watch those cartoons since I started writing about shorts; they really weren’t worth the wait.

Best shorts are Dreams of a Rarebit Fiend, Greetings from Africa, Meshes of the Afternoon, What Have We Learned, Charlie Brown? Almost in order of publication, which I should’ve been doing from the start for the best of lists. Next year.

I think the decade with most films written about is the fifties, which seems weird because I didn’t think at all about focusing on it. Just happened.

A month into 2019, it certainly seems like I’m going to keep going with blogathons to “schedule” Stop Button. I’ve got a bunch of short films I’m interested in but the only thing really connecting them is that interest. No scheduling themes for the foreseeable future, other than long form posts. Next month I’m doing an Eleanor Parker post about the Oscars. Then I think I’m alternating monthly between Stop Button and Comics Fondle.

The 2019 blogathon schedule has some movies I’m really looking forward to writing about finally: Primrose Path and Incredible Shrinking Man being the standouts so far. I remember loving both those films. Long ago.

And scheduling a weekly group movie night has lead to some long dreaded repeats (Unbreakable) but also excellent ones (Sugarland). Films I’ve already got scheduled I’m really looking forward to watching (or watching again)–Sorry To Bother You, Mighty Quinn, Crooklyn, To Die For, Lizzie, Duel.

Good fodder.

Given I’m not training for a marathon again, I hope this summer I do something more focused–there’s a lot more Bergman in the box set, there’s Aki Kaurismäki, there’s still Buster Keaton (if just the shorts), there’s those restored Hal Hartleys, there’s plenty. There’s too much.

So I’m keeping my 2019 Stop Button ambitions just as low as 2018’s, only without the marathon excuse. But am confident I’ll see some good things. Maybe even Sixth Sense again, because I have to know.

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Greetings from Africa (1996, Cheryl Dunye)

In Greetings from Africa writer, director, and star Dunye mixes formats. Her first person comments to the camera are black and white video. The dramatized story is color film. Very, very colorful film. Dunye and cinematographer Sarah Cawley have some affected, formalist shots–even though Dunye’s the only one giving first person narration, Nora Breen (as Dunye’s romantic interest) gets some emotive and stylized close-ups. But then there are the more realistic sequences, where the sets are fully adorned–both the first person video shots and the stylized sequences with Breen and Dunye flirting in private have mostly blank walls. Even when Dunye and Breen have scenes in regular sets (Dunye’s apartment’s bathroom and kitchen), the composition emphasizes the actors, not the scenery.

The short runs about eight minutes, with Dunye recounting her time spent with Breen. They meet (off screen, but with the some of the audio played over, in some of Greetings finest editing), hang out a bit, then Dunye discovers Breen has some secrets.

There’s the scene in the kitchen, which has multiple conversations overlaid in voiceover, all with Dunye and Crawley’s stylized composition and colors and with Joan Caplin’s fantastic editing. Greetings is short, but full of content. Between Dunye’s first person exposition expanding it and contextualizing it, there’s also the technical stylizing in scenes to make it bigger. It’s great.

Greetings is mostly comedic; well, it’s not entirely anything, but it’s more comedic than anything else. Dunye’s got a wry sense of humor, not just in her performance, but in the dialogue and plotting of the short. She’ll cut away from a scene for maximum comedic impact. The short’s exquisitely made.

Dunye gives the best performance (there are three other actors) thanks to her silent expressions as she takes in the events, as well as her recounting of them for the first person. With the video to film and film to video changes, there’s a visual cue to differentiate between Dunye the narrator and Dunye the protagonist. Neither is unreliable or so much contrary as Dunye establishes a different narrative distance. It’s very cool.

Breen’s also good, though she really only gets a few scenes and they’re short ones. She’s playing an enigmatic character but not enigmatically. Again, Greetings excels in its subtle disconnects.

There’s a lot of subtlety to the short overall–it plays very much like a culmination of two of Dunye’s previous shorts. Being familiar with them probably makes the quiet jokes funnier, but seeing them isn’t necessary. The film’s more strong enough on its own.

The editing and cinematography are phenomenal. Perfect score by Glorified Magnified and Rebecca Coupe Franks–and perfectly cut to the action. Greetings from Africa is confident and boisterous and confident in its boisterousness. Dunye, her cast, and her crew, all do excellent work.

3/3Highly Recommended

CREDITS

Written and directed by Cheryl Dunye; director of photography, Sarah Cawley; edited by Joan Caplin; music by Glorified Magnified and Rebecca Coupe Franks; produced by Dunye, Mary Jane Skalski, and Karen Yaeger.

Starring Nora Breen (L), Cheryl Dunye (Cheryl), Jocelyn Taylor (Dee), and Jacqueline Woodson (The Girlfriend).


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