In an appearance today at Ebertfest following the screening of Beyond the Valley of the Dolls, Roger Ebert spoke to the audience with the help of a computer program, which was donated for his use today by the University of Illinois and College of Communications Dean Ron Yates. Ebert spoke about the film he co-wrote with Russ Meyer, which was shown today as the conclusion to Ebertfest. Ebert admitted that he and co-writer Russ Meyer couldn’t keep a straight face through the writing of the film and said to sum up his emotions a line from BVD, “It’s my happening and it freaks me out!” which evoked laughter from the audience.

A disclaimer reading “This is not a sequel to Valley of the Dolls” was the first “joke” the audience viewing Beyond the Valley of the Dolls (or BVD) encountered Sunday afternoon. I myself, was not sure what to expect, not having seen the original Valley of the Dolls and honestly there to see the band Strawberry Alarm Clock (they played “Insence and Peppermints” ) perform. Even the introduction to the film, with it’s witty humor and inside jokes that only those who had seen the film understood, gave no inclination as to what I was about to see. What I saw, turned into a strange mix of sex, drugs, and rock ‘n roll, literally. Roger Ebert and Russ Meyer ( a “skin-flick auteur” ) created a film that instead of being a sequel to Valley of the Dolls, took every cliche from Hollywood and VotD and wrapped it up into one satirical package. As the offspring of two baby boomer’s (one of them an ex-hippie) I have grown up in a world of classic rock music; The Beatles, The Stones, etc; so to see a film in which an actual band (Strawberry Alarm Clock) is portraying the rock ‘n roll, and actually writing songs for a film that has to deal with said world, was a pleasant experience.

BVD’s plot, in the most basic form, is about a female rock group; Kelly, Casey and Pet; who decide to pack up and move to LA to find fame and riches. When reaching LA, they find Kelly’s famous fashion designer aunt Susan and get involved in her world of drugs, sex and rock ‘n roll. Without giving too much away, the girls each find their own sexual freedom and have to decide which side of innocence is worth having. The film seems to represent much of the time period from the clothing to the music to the idea of free love and happiness.

Meyer was one of the first to use the quick cuts in BVD that are seen in many films now a days and much of the comedy comes from the way the actors really seem to be taking the film and script so seriously. On top of the comedic feel to the film, is a post-modernist representation of some of the dialouge and scenes. For example, one of the ending sequences is frighteningly similar to the murders of the Manson family. Guest Marcia McBroom, who played Pet, urged the audience to laugh at such violent sequences, however, promising that they were meant for that purpose.

Audience members were also given a special performance from the Strawberry Alarm Clock which both wrote songs for and appeared in BVD. And although the band is definitely getting up there in age (some in their 70s) they still knew how to rock out!

Director Werner Herzog discusses his work on Stroszek following the film’s screening at Ebertfest. Media Credit: Ped Naseri.

Werner Herzog is one of my all time favorite directors. Last May I wrote a twelve-page paper on his films The Enigma of Kasper Hauser and Woyzeck (which are both fantastic) and never did I think that nearly a year later I would be chatting with the great filmmaker about it.

The film shown tonight was one I hadn’t seen before, and once again, he’s blown me away. Stroszek is a film about a trio of very intriguing characters that move from Berlin to Wisconsin. The interactions they have in both Germany and the United States are quirky, insightful, hilarious, and dramatic. It’s a movie that can be described with any number of positive adjectives, every scene bursting with emotion and things that make you think; it’s also a great introductory film to one of the most impressive oeuvres in film history.

I have to mention that listening to Herzog speak about his art is something that is completely inexplicable in and of itself, in terms of how exceptional it was. He’s very intelligent and funny, and hearing him share his amazing stories was such an awesome experience.

I might sound overly flattering, but I can’t help but feel inspired by having the opportunity to listen to him on the panel and chat with him afterwards. To me, Herzog represents the best of filmmaking; the art of sharing ideas and emotion, and expressing humanity; filmmaking at it’s most sincere.

I would definitely recommend checking out his movies, which you can find a complete list at the Internet Movie Database and to look for his latest flick with Batman Begins star Christian Bale in Rescue Dawn, coming soon.

Directors Paul Cox and Werner Herzog discuss Man of Flowers following the film’s screening. Media Credit: Ped Naseri.

Man of Flowers definitely gets the award for most peculiar film I’ve seen thus far at Ebertfest. That’s not a bad thing, however. Naturally with a Herzog film on the list you’re bound to see something peculiar, however I’m accustomed to that style coming from a renowned director. Paul Cox is a name that until this year was unfamiliar to me.

Man of Flowers is another one of those films that’s hard to explain, but I’m going to give it a shot. The story follows a man by the name of Charles Bremmer, a middle-aged bachelor with vast knowledge of art history, floral arrangements, and pretty much anything of class. His peculiarity is derived from his appreciation of beauty but no ability to express it. Now I know what you’re thinking: Why would I watch a movie about a guy who can’t express things? Well, trust me, this is fine filmmaking and definitely worth watching for Norman Kaye’s performance as Charles Bremmer.

This film was the quintessence of overlooked and was a prime choice for this year’s festival. Cox’s direction is fantastic and his use of opera in the score to the film alone is worth it. There’s also a special treat in that Herzog himself acted in the film in many flashback sequences.

There was also a great discussion in the Q&A, which featured Cox and Herzog exchanging stories, discussing outlooks on film and life in general.

Man of Flowers is definitely something to watch with an open mind. Be warned, however, there is full frontal nudity and foul language, so keep the kids away from this one until they’re older.

Photo Caption: Director Rudi Dolezal introduces his film, Freddie Mercury: The Untold Story at Ebertfest. Media Credit: Blake Stubbs.

Once in a while I see a documentary that just grabs hold and keeps my focus from start to finish. Freddie Mercury: The Untold Story did that last night.

Directed by Rudi Dolezal, the film begins with some reenactment sequences of Freddie’s childhood in Zanzabar and India, coupled with interviews from his Mother and sister. As it progresses the audience is treated to a more human and personal side of one of the greatest rock vocalists to ever grace a stage.

While we all know that Freddie was the lead singer of Queen, the film gives us insight into the early bands that Freddie worked with on the road to becoming the great showman he always wanted to be.

Particularly interesting was his foray into Opera, and the film chronicles the story behind his collaboration with Opera Diva Montserrat Caballé on the song
“Barcelona.”

Originally made for television, the film was supposed to be clocked in at an hour, but Dolezal treated the Ebertfest audience to an extended ninety-minute cut packed with extra interviews.

I encourage any fan of Queen or Mercury’s solo career to pick this up on DVD as soon as it is available; it’s a truly in-depth look at one of the greats.

Co-President of Sony Pictures Classics Michael Barker addresses an audience question following the screening of La Dolce Vita as Professor David Bordwell looks on. Media Credit: Blake Stubbs.

La Dolce Vita is a must see for any serious movie-goer. I would venture to say that anyone sincerely interested in seeing filmmaking at its finest should watch this film. It is one of those staple movies that so much of today’s work has branched from.

It’s an Italian film from famed director, Frederico Fellini, who people like Martin Scorsese credit as being a huge inspiration to their art. Along with Vita make sure to check out Fellini’s other classics like 8 ½ and Satyricon (among a plethora of others).

While watching this film I started to think about how different the movies are today. Contemporary Hollywood movies seem to lack the type of confidence that Vita radiates from the first shot to the last. It’s a different viewing experience from things I’ve seen recently at the cinemas and it made me think why we don’t see things like this anymore. I’m guessing marketing is a big part, but I think it’d be good for American cinema if we opened the theaters up to more non-conventional movies.

I don’t know, maybe I’m being sentimental after going through so many good movies during this festival that have been overlooked or forgotten. Either way, I think it’s another reason why Ebertfest is so damn cool.