If you’re like me, this Election Day is all about comfort food and comfort movies. If you need to break away from the pundits & prognosticators, here are the Carreón Cinema Club’s Top Five Election Day Movies to help steady, or jangle, your nerves as we await the results of a lifetime.
TED (2012) – Feeling the need to bust a gut, look no further than Seth MacFarlane’s Oscar-nominated hit, TED. One of my favorite R comedies ever, the image of a trash-mouthed, alcoholic teddy bear is perfect for tonight. Starring Mark Wahlberg and Mila Kunis, prepare for a case of the moist fuzzies thanks to MacFarlane’s pitch-perfect voice performance as Ted. It’s for anyone who needs a thunder buddy tonight.
THE PHILADELPHIA STORY (1940) – One of my favorite films ever, George Cukor’s 1940 classic THE PHILADELPHIA, is as perfect a comedy as you’ll ever see. Starring Cary Grant, Katharine Hepburn, and James Stewart in his only Oscar-winning performance, this is a film to treasure thanks to a screenplay that is practically music to your ears. Classy, legendary, and funny in its depiction of class, media, and marriage, you will swoon away the anxiety in no time.
WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN (1988) –Tap into the pop kitsch of Spanish iconoclast Pedro Almódovar’s first mainstream hit, WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN. This Spanish-language comedy from 1988 reveals how far an anxious woman will go to get a call back from a straying lover. A hilarious look at relationships and gender, you’ll be ignoring your telephone as election updates start coming in.
NETWORK (1976) – If you need something a little more substantive, why not Paddy Chayefsky’s brutally funny but accurate look at media with NETWORK. Directed by Sidney Lumet, this prophetic movie details how a last-place network taps into the era’s popular rage with outrageous and tragic results. Featuring William Holden and Robert Duvall, it is the Oscar-winning trio of Faye Dunaway and Peter Finch, along with Chayefsky’s script that makes this film a classic for any media age.
Z (1969) – For the nihilists just looking for a cathartic release, may I suggest Costa-Gavras’ Z, a dark and chilling account of Greek politics following the assassination of a Greek political leader. Inspired by real events, Z’s representation of the event’s aftermath, including a mass cover-up and a coup d’etat, is sobering and all-too timely. One of the first films to be nominated for Best Picture and Best Foreign Film Oscars, winning for the latter. Unforgettable.
Hang in there, mi gente. We have each other for whatever happens next. See you on the other side of history.
Hola, mi gente! Feliz Día de los Muertos from the Carreón Cinema Club.
One of Latin America’s most revered cultural traditions, the Day of the Dead, has infiltrated el norte with gusto. Even Target gets into it these days! However, what thrills me more is how a particular group of filmmakers endeavored to craft two fantastic animated films that have broadened the reach and power of these special days celebrating the dead.
First up, Jorge R. Gutierrez’s gorgeous and inventive 2014 adventure, THE BOOK OF LIFE, produced by Oscar-winning director Guillermo del Toro, nominated for a Golden Globe Award as Best Animated Feature Film.
If that wasn’t enough, Disney/Pixar wasn’t going to be left out of the ofrenda, creating the 2017 family classic COCO, directed by Lee Unkrich. But something tells me you already know a little something about that not-so little blockbuster. (Hint: It received two Academy Awards, including Best Animated Feature Film.)
Both films remain heartfelt and poignant to me, but I have a special place for THE BOOK OF LIFE. The visual artistry devised by Gutierrez and team is so original, emulating the love and passion of Latino artisans in several mediums and multiple generations. The textures, the colors, and Mexicaness of it all live in the myriad details that populate the screen. If you haven’t seen it, please make an effort to add it to your family viewing choices.
Until next time, amigos! And por Dios, subscribe to the Carreón Cinema Club already!
Real life is probably scarier now than ever, but a little artificial fear mixed with nostalgia is still a damn good treat for the senses. If you are finding yourself eager to shut out all that ails us in this pandemic/election double feature of doom, why not try my Fright Night Five Film Festival?
Alien (1979) – Ridley Scott’s epic monster in space story still packs a wallop. Often imitated but never equaled, the original ALIEN defined a new era for the genre. Exquisitely minimalistic in execution, it is a slow burn of building suspense until it explodes with terror and primal violence. It remains my favorite scary film ever, despite the diminishing returns of the franchise.
Runner up: James Cameron’s 1986 militaristic mash-up ALIENS, which turned Oscar-nominated star Sigourney Weaver into a hero archetype for the ages.
Carrie (1976) – Stephen King’s classic novel Carrie is a perfect expression of teen rage, manifested in a young woman with telekinetic powers. A visualized by director Brian De Palma, CARRIE is a riveting blend of psychological drama and terror that reaches its devastating peak with a prom sequence for the ages.
However, the moments in between depicting Carrie being bullied at school by classmates and at home by her overbearing Bible-thumping mother give the film its most haunting and human qualities. Beautifully interpreted by future Oscar winner Sissy Spacek, CARRIE has since evolved into a cautionary tale that plays out even today with equally devastating results.
A Nightmare on Elm Street (1984) – Teenagers and horror go together better than “Boogey” and “man” for a reason. Leave it the horror auteur Wes Craven to create the ultimate nihilistic symbol of consequence: Freddy Krueger. Craven’s A NIGHTMARE ON ELM STREET is terrifying because its villain results from the vigilante justice engaged by a group of parents seeking to stop a predatory child murderer. When their teenagers start to die one by one, this narrative of an unstoppable vengeful ghost instantly became mythic and a perfect representation of our current ethos. What happens when you can’t take care of your kids in an era of rampant American individualism? That’s a nightmare, alright.
Halloween (1978) – If you’re a child of the late 1970s and early 1980s, you will remember where you were when the theme to John Carpenter’s HALLOWEEN scared the shit out of you for the first time. It rivals John Williams’ theme to “Jaws” as a harbinger of death. The slasher film was alive and well, an outburst of anarchy brought on by the American Dream’s demise. After Vietnam, Nixon, and the gas crisis, America was numb and angry, among other societal malaise. New cultural monsters were born, and standing tall amongst them was the notorious and sadistic Michael Myers.
Myers was rage incarnate, another silent and vengeful killing machine, and it didn’t matter who stood in his way. As a horror film, it is a compelling example of cause and effect. You watch, you scream, and you laugh nervously at your reaction. It helps that star Jamie Lee Curtis as Laurie Strode is such a relatable screen heroine. We are all Laurie in that we will survive, dammit. However, look closer and try to project into the film what you fear at this moment in time. It’s a whole different movie experience. Trust me.
The Exorcist (1973) – If you’re craving tales of demonic possession, then THE EXORCIST is for you. What makes William Friedkin’s visceral supernatural thriller so compelling is having a young child at the center of a terrifying reality. Stars Ellen Burstyn and Linda Blair are like watching a beautiful duet of humanity as a mother and daughter, even as all hell breaks loose in their Georgetown home.
In 1973, audiences reacted to this film by waiting in line for hours, some in freezing weather, to get a ticket. THE EXORCIST became part of the national conversation, even surpassing the Watergate scandal for a moment. Nearly 50 years later, though, aspects of THE EXORCIST feel quaint in terms of effects. The narrative, however, still shakes you up hard. It is a superbly crafted film experience, preying on all that you fear, whether you’re religious or not. Don’t watch it alone in the dark – or better yet, do. You’ll see and hear things all over the house that are NOT on your screen.
Enjoy the first ever Fright Night Five from the Carreón Cinema Club, mi gente. Be safe and sane out there — and wear a pinche mask! It’s alright tonight, ya tú sabes!
Welcome back to the Carreón Cinema Club. Get ready for a double feature of failing marriages and the importance of communication. But seriously, both films are remarkable for their emotional frankness and the artistry of the great Ingrid Bergman.
It is not a coincidence that I am focusing on another glamorous Swede after debuting the Club with Greta Garbo. The luminous Ingrid Bergman, a three-time Oscar winner, couldn’t avoid becoming a Hollywood legend thanks to such films as Notorious, Gaslight, and, of course, Casablanca. However, the discovery of her later works on the Kanopy and Prime Video channels revealed to me how she was one artist who didn’t shy from taking a chance on difficult material, especially at a time where public perception was actually against her.
After representing the perfect leading lady image in the 1940s, Bergman’s popularity took a severe hit in the early 1950s thanks to her relationship with Italian director Robert Rossellini. They had met while working on Stromboli in 1949, kindling a passionate affair. Both were married to other people. More, Bergman was also pregnant with her first child with the famed director. Deemed “scandalosa,” the actress stayed exiled in Europe for several years. Yet, that didn’t stop the duo from working together. Bergman’s collaborations with Rossellini were often compelling and nothing like her films that garnered her much success.
According to daughter, actress Isabella Rossellini said in a recent interview with Reuters, “She showed that women are independent, that women want to tell their own story, want to take the initiative, but sometimes they can’t because sometimes our social culture doesn’t allow women to break away from certain rules.”
Watching JOURNEY TO ITALY on Kanopy only reaffirms her daughter’s sentiments. Coupled with Rossellini’s stature as one of the most prominent members of the neo-realist movement in world cinema, Bergman flourished with portraying complex women who break the rules attached to traditional gender roles.
Much like Nicole Kidman today, Bergman had no problem stripping down the veneers of poise and gentility to reveal her truest self. Her emotional vulnerability resulted in a fascinating showcase in THE HUMAN VOICE, a one-hour televised adaptation of the famed and influential Jean Cocteau monologue. Speaking to an audience of one via telephone, Bergman captures all that can dismantle us when communication with a loved one becomes difficult and unbearable.
I love films that deal with unfiltered relationships and offer real psychology as to why we put ourselves through such trials, even when we face an absolute end. It makes for incredibly beautiful catharsis on film. That’s why Bergman leads this second entry of the Carreón Cinema Club. First up, JOURNEY TO ITALY.
Journey to Italy (1954)
Director: Roberto Rossellini
Cast: Ingrid Bergman, George Sanders
In JOURNEY TO ITALY, Bergman co-stars with George Sanders of All About Eve and Rebecca fame. As the film opens, the signs are evident that the moneyed duo of Kathryn and Alex Joyce may be facing the end of their marriage. Heading by car to Naples to unload an inherited villa, their trip starts as a vacation, a chance to reconnect. Instead, they find their conversations taxed by Alex’s sarcasm and Kathryn’s hair-trigger sentimentality. At constant odds for most of the trip, misunderstandings and jealousy sully the waters further, prompting Kathryn to ask for a divorce on impulse. Where the film takes a stunning turn, however, is when they visit the almost lunar landscape ruins of Pompeii. Seeing the discovered bodies of former lovers encased for eternity in ashes rattles Kathryn to the point that she begs Alex for them to leave. The impact is profound, one that delivers a final scene that is both powerful and unforgettable.
JOURNEY TO ITALY is no travelogue, although Rossellini’s composition of black and white shots is often beautiful and striking. No, the territory covered is all heart and mind. It is a fascinating journey to watch, even though not a lot happens for most of the film until the final act. The non-linear trajectory of the narrative, however, is what gives the story its forward motion. What captured my attention most was how urgent the emotions played throughout. Director Rossellini would tell the actors their dialogue before cameras started rolling, which sounds like a risky endeavor. Yet, Sanders, and especially Bergman, deliver such raw and unfiltered performances, you can only imagine how it felt like working without a net. The possibility erases any chance for overembellishment, never robbing the characters of their truth. They are living it out loud at that moment. That is why JOURNEY TO ITALY is such a wonderful experience to watch, one I hope you enjoy as well. It continues to be available on Kanopy. Take the journey. It is so worth it.
The Human Voice (1967)
Based on the play by Jean Cocteau
Adapted by Carl Wildman
Director: Ted Kotcheff
Cast: Ingrid Bergman
Jean Cocteau’s famed one-act play, has returned to court public attention this year thanks to Spain’s Oscar-winning auteur Pedro Almódovar. The toast of the 2020 Venice Film Festival, Almódovar took a giant creative leap with his adaptation, a short film no less, and in English! For the first time. Ay la leche! Starring the equally fearless Tilda Swinton, the threads of his passion for Cocteau’s have finally flourished. You can see how the story of a woman’s desperate phone call proved influential for his iconic 1988 comedy Women on the Verge of a Nervous Breakdown. As we await the US release of his adaptation of THE HUMAN VOICE, what a pleasant surprise to know we have access to Ingrid Bergman’s interpretation of the role to offer a study of contrasts.
Now streaming on Prime Video as part of its Broadway HD channel, THE HUMAN VOICE finished the one-season run of the ABC anthology series, ABC Stage 67. Bergman stars as an unnamed woman dealing with the emotional wreckage after her husband leaves her for another woman. We are allowed to hear what is probably be the last conversation between this couple, but only her voice. Representing her husband is the cold instrument known as a telephone, her literal lifeline as she makes a desperate attempt to stay connected in more ways than the unpredictable wire. We never hear from him, only seeing clues of his torn picture and a magazine feature image of his new love.
The premise is unadorned, offering an actor a bravura role that lasts just under an hour. Bergman takes full advantage. Chainsmoking and unable to keep her voice was quavering, she turns herself into a human rollercoaster of emotions, rising and falling throughout the often-painful conversation. Forget the part of her being famous; it is hard not to feel uncomfortable for eavesdropping before the famed actress hits specific notes that feel both personal and relatable as the conversation reaches its peak. The audio effects of a clock ticking, dial tones and silences on the other line are often intrusive and heartbreaking, punctuating the reality she’s not going to turn this situation around in her favor.
The look is all 60s television, abstract and theatrical. The camera work is not subtle, and the pauses for commercial breaks are annoying as transitions. Bergman feels a bit mannered at the start. Yet, it is a beautifully calibrated star turn by the end, offering a persona that is real and honest. Amazing what the human voice can do to us when we know it is close to being removed from our spheres of living.
You can see what several artists have taken on Cocteau’s play. Interestingly, Roberto Rossellini directed THE HUMAN VOICE in 1948 as part of a two-part Italian film titled L’Amore with Anna Magnani and Federico Fellini. It is now showing on HBO Max, which I will make a point to watch.
Thanks for reading this second installment of the Carreón Cinema Club, home of films with big feelings! Don’t forget to subscribe to the YouTube channel, as well as follow me on Instagram: @CarreonCinemaClub and Twitter: @CarreonClub. Lots more to share ahead. Keep on reading. Thanks for your attention, mi gente.
It was essential to start the broadcast reviews from the Carreón Cinema Club with a comedy because we need a laugh.
I also wanted to showcase a film from the past that continues to inspire and engage audiences today. I ran through my favorite film eras, and the minute I thought, “1939,” I knew what I had to do.
What was so special about 1939, you ask? Not much, just that it was the year audiences witnessed future classics galore, including one of my favorite films ever, George Cukor’s “The Women.” And how about “Mr. Smith Goes to Washington,” “Stagecoach,” “The Wizard of Oz,” and, of course, the legendary and still controversial “Gone with the Wind?” Yes, it was a monumental year.
I knew a museum piece would make your eyes glaze over. Nor did I want to pick a title that would encourage “cancel culture” discourse. The chosen film was one I saw, finally, for the first time thanks to Turner Classic Movies. Ergo, 1939’s leading romantic comedy, NINOTCHKA, kicks off the Carreón Cinema Club.
Starring the legendary Greta Garbo in her first real American comedy, NINOTCHKA remains a classic film thanks to its famed star, a winning ensemble cast, its peerless writing, and the deft directorial “touch” of Ernst Lubitsch.
Let’s take a look.
Written by Charles Brackett, Walter Reisch, and the soon to be legend himself Billy Wilder, NINOTCHKA is an elegantly rendered satire of clashing ideologies, including gender, sex, capitalism, and communism.
Garbo stars as Nina Ivanovna “Ninotchka” Yakushov, an incredibly severe Russian envoy, itself a send-up of her previous dramatic personas on screen. Sent to Paris to retrieve the jewels of a deposed countess in exile, Ninotchka instead finds herself questioning her commitment to the Soviet cause thanks to the city’s charms and, mostly, the persuasive romantic attentions of the playboy Count Léon, portrayed by Melvyn Douglas.
I’d wanted to see this film for years but never got around to it until this summer. The lively banter between Garbo and Douglas, the absurd situations experienced with glee by a trio of other failed agents, and the biting visual commentary of life in the Soviet Union in that era is all spun into this delicious confection with substance.
What truly made me fall in love with this film was its famed scene between Ninotchka and the count in a Parisian blue-collar diner. Determined to make her crack a smile, Count Léon tells Ninotchka a slew of jokes, all of which land with a resounding thud. Her analytical mind keeps taking the piss out of his stories, frustrating him to the point of giving up. Then, it happens.
As the count beats a hasty retreat to his table, he trips on a chair and goes crashing down. The whole place erupts in laughter, including his steely Russian paramour. To witness the stunning Garbo bust a gut with delight is a huge turning point for the character. More, her glee is infectious for the viewer, too. I couldn’t stop laughing, rewinding the scene several times because it made me laugh out loud. To be frank, it just felt good. It’s ridiculous and human, all at the same time.
NINOTCHKA goes beyond the time capsule because it’s a perfect mix of all that we want in romance and comedy, with something for the brain, too. The film’s commentary on the Soviet Union takes up much of the final act, which speaks volumes for what Americans thought of the “Red Menace” before entering World War II. It’s not a pretty picture of communist life, dry and drab, but strangely warm at the same time. It is striking when watched through the prism of 2020, given how much anger American society felt for years. While Russia is still a hot button today, it has evolved into something more dangerous and polarizing. Nevertheless, you will gain an appreciation for how the film juggles spoof with sophisticated humor. Lubitsch was a master for a reason and worth investigating further once you’ve enjoyed NINOTCHKA.
Nominated for four Academy Awards, including Best Picture, Best Actress (Garbo’s 4th bid), Best Original Story (Melchior Lengyel), and Best Screenplay, NINOTCHKA would be shut out by the “Gone with the Wind” juggernaut. (Believe it or not, director Ernst Lubitsch didn’t warrant a nomination at all. And for all her cinematic might and acclaim, Garbo never won an Oscar ever.)
The glamourous fizz of NINOTCHKA reached further potency thanks to MGM’s legendary promotions and publicity team. Best slogan? “Garbo Laughs!” spotlighting her switch from drama to comedy. Runner up? “Don’t Pronounce It – See It!”
In the end, it was a bittersweet achievement for Garbo as the film was her penultimate effort. While she had worked with Douglas before in 1932, MGM was quick to pair them up again for another comedy, George Cukor’s 1941 effort “Two-Faced Woman.” Unfairly roasted by critics, Garbo found herself labeled “box office poison.” She would not return to the screen again. Instead, one of the cinema’s most enduring faces chose to stop acting at the age of 36, hiding from public view for the rest of her life.
The legacy of NINOTCHKA endures, however. Famed composer Cole Porter would set the story to music with the 1955 Broadway musical “Silk Stockings,” itself made into a film in 1957 by MGM with Fred Astaire and Cyd Charisse playing the leads. Still, the original remains the finest interpretation, one meant to be rediscovered and appreciated.
While the film is not streaming for free now, keep an eye out for it on TCM as it frequently appears on the channel. You can also rent the movie on iTunes, YouTube, Google Play, and Vudu for a nominal price. Better yet, check out the DVD collections at your local public library or visit the wonderfully eclectic collections at Vidiots in Los Angeles or Vidéothèque in South Pasadena.
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Amazing how Hollywood dared to take on the task of adapting “kidult” tales in the 1970s, finding indifference at the box office in the process.
George Cukor took on “The Blue Bird,” an American-Russian venture that had its wings cut by critics in 1978. Producer David L. Wolper brought forth an imaginative take on Roald Dahl’s iconic “Willy Wonka and the Chocolate Factory,” which found fame after its initial release in 1971. Or, how about Sidney Lumet’s gorgeously designed vision of Oz as an urban fantasia in “The Wiz,” that landed with a thud in 1978 when the Broadway smash was transformed into big budget lesson in EST? Somewhere in the middle, you will find Stanley Donen’s 1974 musical film THE LITTLE PRINCE.
Written by Count Antoine de Saint-Exupéry, THE LITTLE PRINCE endures as one of the most treasured books of the 20th century. A delicate fable of a young boy who lives alone on asteroid B-612, its fantastic vision has inspired various adaptations, from ballet to opera and, especially, film. An animated version was eschewed theatrical release and streamed on Netflix in 2016. However, it is the live-action musical version directed by Donen continues to orbit in some film circles.
Panned by critics during its release, THE LITTLE PRINCE is a real cinematic oddity. Featuring the last film score of the legendary duo Alan Jay Lerner & Frederick Lowe (“My Fair Lady,” “Camelot”), Donen dared to craft an abstract, yet sweeping vision of the original novella with to erratic effect. Starring Richard Kiley as a pilot who encounters the Little Prince (newcomer Steven Warren) after his plane goes down in the desert. As the little boy who has fallen to earth, the two forge a friendship while the pilot attempts to repair his plane. He relegates the grown-up with tales of his space journeys, venturing to other planetoids, seeking answers about the meaning of life, love, war, and the pursuit of knowledge.
No one he meets seems to think he’s old enough to understand the answers, that he’s only a child. It isn’t until he meets a fox (Gene Wilder) that seeks to be tamed and a perfidious snake (the amazing Bob Fosse) that he starts to understand the truth about life and death. Before the Little Prince dies, he shares his knowledge with the pilot, bringing the man’s journey full circle. The pilot, realizing the boy was just a figment of his imagination, takes off anew, hearing the sound of the Little Prince’s laughter as gazes into the starry night.
Despite its luscious score, THE LITTLE PRINCE’s musical numbers fall curiously flat. Despite the efforts of such stage luminaries as Kiley (“Man of La Mancha”), dancer Donna McKechnie (“A Chorus Line”), and Clive Revill (“Oliver”), all working hard to make it work, the narrative sections are a lot more compelling. More, little Steven Warner’s performance is oddly wistful and distracting thanks to the Phyllis Diller wig plunked on his head. Worse, Warner at times feels swamped by the production, beautifully shot on location in Tunisia. Yet, moments occur when the film fires all cylinders, where Donen’s skill to capture motion and music feel beautifully realized. The highlight is Bob Fosse’s rendition of “A Snake in the Grass,” featuring his sinuous choreography. It is a mesmerizing piece of artistry, one that deserves a chance to be relished. (Word is this section hugely influenced the late Michael Jackson, best evidenced by his performance in “Billie Jean.”)
To be honest, viewing the film with a 2020 context will raise a few eyebrows, which is why it is important to leave any cancel culture sensibilities out of the mix. Yes it is flawed, but THE LITTLE PRINCE is fascinating in its attempt to bring Golden Age into the evolving universe of the 1970s. Lerner & Lowe did not have in common with the studio, opting out of the recording sessions. Donen would not reach the apex of his career that brought us “Singin’ in the Rain,” “Seven Brides for Seven Brothers,” “Funny Face,” and “Charade.” The 1970s proved unkind to the director, marred by such high-profile failures as “Lucky Lady” with Liza Minnelli and Burt Reynolds in 1975 and the notorious sci-fi thriller “Saturn 3” with Kirk Douglas and Farrah Fawcett in 1980. You have to credit Donen for wanting to keep relevant as the industry changed with incredible speed.
Despite its hitting a few harsh chords, the message at its poignant end is one for the ages. We have a choice in how we see the world; that choice ultimately defines us. Sometimes it does take a child to lead us to that part of ourselves before we trade our innocence for weary experience. Its simplicity struck me as a fitting grace note, especially with what we witness on the daily of late. While THE LITTLE PRINCE may have struggled to unleash the imagination of its source material, it remains proof that even those films deemed failures can still offer something for an audience willing to appreciate its joys.
For as long as I can remember, movies were my refuge of choice whenever the world felt like it was out of control. Even more so than books, films were that perfect, transcendent experience.
Genre did not matter to me, at least not at first. I allowed myself to be transported beyond worlds big and small with time, from fantasy to gritty realism, from historical epics to contemporary narratives of great emotion and truth. It didn’t matter the language, either. What mattered most was what captured by the camera and how it made me feel. At 53 and with over 25 years of working in the film industry, the education I’ve received introduced new perspectives and profound respect for those who dare to engage an audience.
With today’s comment box mobs raking most efforts through the coals instead of offering profound analysis, it is hard not to take offense. If you don’t like what you see, make your own damn film. See how it feels! Worse, in this era of YouTube and TikTok stars, I fear the historical significance of so many masterworks from the past will simply turn to dust.
While I understand streaming platforms’ entertainment value, I admit I was slow in making them a part of my viewing outlets. I still prefer sitting in a plush movie theater, a luxury I sorely miss during these days of the pandemic. When I do connect with the streamers, I find more comfort watching television series from the past than anything of the moment. Some days you just want a nice grilled cheese sandwich with a hot bowl of tomato soup, right? In reality, I accept not being the demo for most mainstream streaming platforms’ original programming. Thankfully, friends and colleagues have offered sublime alternatives, which has turned my living room into an international film festival.
A pattern is emerging from what I’ve made time to watch these last few months. Seeking distraction from what ails us is not always an admission that serious events undermine our fragile and privileged peace of mind and ways of life. It is essential to be aware, to make a difference through educated activism or donating to a cause, all actionable outreach, to ensure these dark days are not the harbinger of worse things to come. My motivation to turn away from social media, in particular, was to stop screaming into a void, to not contribute to the virtue signaling of hashtag politics, and to fully restore a sense of civility and humanity, at least in my sphere of living.
I’ve found so much to ponder and marvel thanks to The Criterion Channel, Kanopy, and the TCM App. While Hulu and Amazon Prime possess some gems, I didn’t expect the sites mentioned earlier to remind me why I fell in love with film oh-so-many years ago. Expertly curated, they offer a window into the world, past, present, and even a bit of the future. From a personal level, I find my faith in the creative process restored as I reflect on the universal themes and emotions that inspire us to write, act, and roll the cameras.
We don’t know what lies ahead in our shared futures, but I resolved to view 2020 as a bittersweet gift. This painful reality we continue to witness is a much-needed moment to take stock and build a better self. We may never get a chance like this again. Why not look back at our world film history and see what we can carry forward in terms of the art we seek? In any language, the power of cinema is its ability to capture a moment in time. For however long the feature lasts, you know events happened, a group of likeminded artists lived it, and their record of said events remains eternal. You will feel the best part, for at times you can’t help but think it still can be a beautiful life, indeed.
Since I was in middle school, I wanted to be a film critic. My first printed reviews were on David Lynch’s “The Elephant Man” and the classic comedy “9 to 5,” starring Jane Fonda, Lily Tomlin, and Dolly Parton, both released in 1980. Amazing what can happen to a young David Ansen in 40 years. My career took its path through studio film publicity before reaching its peak as a content producer/interviewer. Still, I never lost sight of that first dream, even achieving it briefly for the excellent Latinx entertainment news site Desde Hollywood. That’s what brings the Carreón Cinema Club full circle.
The Club was inaugurated over a decade ago when my siblings and I would take my late father to the cinema every weekend to see the latest blockbusters. We created this joyful tradition before Alzheimer’s ultimately made it difficult for him to participate during the summer of 2018.
Up until that point, Dad never missed an opening weekend thanks to us. His reviews would often make us smile because you can see he enjoyed being with us in the dark, eating popcorn, and escaping the world for just a moment, too. Dad left us in February 2019. It is that smile of his that guides me through this next project at hand. I will always picture Dad sitting next to me, offering some popcorn or reacting to the film’s incredible sound design on the screen with a “thumb’s up.”
In the days ahead, you will see capsule film reviews highlighting the best of what certain streaming platforms have to offer. Curated with classics from around the world, Hollywood blockbusters, bad movies to love, and other cinematic gems worth your time, the CCC is here to offer a break from what ails us all. A bolt of positivity, no snark, awaits. Either way, it is with the love and emotion that started the CCC I hope translates onto the video chapters to come.