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.

Writer and Director, Joey Lauren Adams, smiles to the Virginia Theatre Audience before the screening of Come Early Morning. Media Credit: Blake Stubbs.

Joey Lauren Adams, who most of you will know from Chasing Amy and Dazed and Confused, received a well deserved round of applause for her directorial debut in Come Early Morning. Adams also wrote the screenplay for the film, which was another first attempt.

The film follows Lucy Fowler (Ashley Judd) as she learns to deal with all the issues surrounding her life. Her struggle to find love and acceptance from those in her life drives the narrative of the film.

The movie is definitely worth seeing, and jumps out as a festival hit right from the start, as opposed to a big wide release type film. Ebertfest proved to be the best possible venue. Adams herself was even surprised. She mentioned during the Q&A afterward that this was the largest audience this film has ever received, and she was glad we enjoyed it.

Joined by actor, and festival favorite, Scott Wilson, the Q&A covered topics from Adams learning how to direct, to how her faith influenced her writing, and finally to working with the actors and teamsters during production. She also announced she recently finished a second script and is in the preproduction stages of getting it made.

Since this is her first film, I have to say there is a great deal of potential in Adams as both a writer and director. Which is important considering that there are not a great deal of female directors in the industry today.

Up next is the Fellini classic, La Dolce Vita.

Coductor Steven Larson and Composer discuss creating a new score for a classic silent film following the screening of Sadie Thompson . Media Credit: Blake Stubbs.

So the thing that struck me about Friday’s first film, Sadie Thompson, is the performance by Gloria Swanson. Now for those of you that don’t know (which I guess counts me as well because I haven’t seen many of her movies) Gloria Swanson was one of the biggest Hollywood actresses of the silent era. After seeing her on the big screen, I now know why.

There is something about her that is absolutely captivating. She has a presence, a way that subtly draws your attention to her in every scene she’s in; and when she’s not there, you wish she was.

The movie follows Sadie Thompson’s confrontations with a Christian missionary, a man bent on “reforming” Sadie and her flapper-esque ways. Meanwhile she falls in love with a sergeant who would do anything for her. The movie moves from comedy, (with some great vaudevillian moments) to a drama. The social issues the film brings up are interesting not only within the context of the time period, but also how it may work today.

Although, I didn’t find the movie as great as some did, I have to admit I am now a huge Gloria Swanson fan. There is another famous movie she was in which you might be more familiar with, Sunset Boulevard, and I must say that I now have a better appreciation for her performance and the film.

It’s worth noting that the film was accompanied by live music from the Champaign Symphony Orchestra. They did a superb job and composer Joseph Turrin wrote the music specifically for this film. An added bonus was that the film is the most complete version available, after deteriorating a bit from poor archival conditions and after the last reel was lost. The ending was reconstructed from production stills, the original script and a lot of hard work by some really dedicated people.

For those of you that love silent era films, or know Sunset Boulevard, this is definitely a movie to catch.

Alan Rickman accepts his Golden Thumb Award and throws a thumbs up to the Ebertfest Audience. Media Credit: Blake Stubbs.

So we just got out of watching Perfume: The Story of a Murderer and it was phenomenal. It is such an inexplicable film, that it’s hard to give a brief run down of it, I’ll try, but I urge you to watch it because it’s definitely one that will keeping you thinking about it long after you see it.

Here’s my attempt at a simply outline: We follow a young man in France who has an extraordinary ability to smell things, and this ability leads him down a path of obsession, destruction, and ambiguous actions as he searches for a way to capture the ultimate essence.

But there is so much more, and so many layers to the film that one viewing doesn’t do it justice.

What I can talk about with some certainty, however, is the superb cinematography. This film is centered around smells, and it is portrayed so elegantly—the style, color choices, framing all combine to create a visual tone that goes far beyond what words can describe. It gives you a feeling, an essence, an imagination of smells via its imagery that’s so stunning some people felt like they could smell what they saw. To me it was more of a ghost, a haunting of a smell that roused my imagination. The picture at times was very eerie, defying genre labels, and while watching it I couldn’t help but think about how complex the story was, all the multiple levels of interpretation that come into play—it’s an academic’s dream (or nightmare).

There are some movies that make you take a step back and say, “Wow, what did I just see?!” And these are the movies that I love because they challenge us; they make us think about not only the story, but our relationship to the movie, our roles as spectators. How do I fit in? What was it that made me enjoy it? It makes you appreciate the art, the craft of filmmaking on another level.

After the show, Alan Rickman was on the panel and I was struck by one of the things he said. (Well actually I was impressed by a lot of what he had to say about acting on stage and on film, on life, on Die Hard, etc.) But this film was overlooked in the States, despite its success in Europe, and he mentioned that he thinks of Perfume as “a big movie that celebrates unnamable things.” I find that comforting in a sense; that a big movie can take on such complex ideas. It’s certainly a noodle-scratcher but in such a beautiful and fun way, that I can’t help but feel appreciative of artists who produce such quality work.

Actress Fatoumata Coulibaly accepts her Golden Thumb Award from Chaz Ebert following the screening of Moolaade. Coulibaly received a standing ovation from the Ebertfest audience for her performance. Media Credit: Blake Stubbs.

I’d like to start by saying that this particular film is definitely one to file away in the “Best Films the General Public Will Never See” category. The film takes place in Africa in a small village where female circumcision is ritual. When four girls run away from being “cut,” they seek refuge with Colle, a woman who refused to let her daughter be circumcised.

She invokes a right of protection upon the four young girls and keeps them in her homestead. What transpires is a small scale battle between the women and men of the village. Without giving too much away, this is hands down one of the most powerful films I have ever seen.

Lead actress, Fatoumata Coulibaly, was on hand to discuss the film afterwards and was introduced to a standing ovation. Pictured above is her acceptance of her Golden Thumb Award.

Up next is Perfume: The Story of A Murderer, and Alan Rickman (Professor Snape from the Harry Potter films, and Hanz Gruber from Die Hard), will be on hand to discuss the film.

Screenwriter Steve Conrad thanks the Ebertfest audience for their appreciation of The Weatherman. Media Credit: Blake Stubbs.

But I doubt it has anything to do with The Weatherman screening that occurred today at noon. The film, starring Nicholas Cage (Leaving Las Vegas), chronicles the midlife crisis of a Chicago weatherman and every one of his problems. Boasting a fantastic cast featuring Michael Caine (Batman Begins), Hope Davis (Arlington Road), and Ebertfest Guest Gil Bellows (The Shawshank Redemption).

I find it surprising that this particular film didn’t receive better audience response upon its first release. Cage gives a very strong performance that is surprisingly different than anything he’s done before. Caine is at his usual state of awesome, playing Cage’s father, who is diagnosed with lymphoma. The special guest on hand Gil Bellows, however, shocked audiences with his chilling portrayal of a drug-rehab counselor who has his eyes set on Cage’s young son.

Possibly the biggest plus to this particular screening was the film’s screenwriter, Steve Conrad (Wrestling Earnest Hemingway, The Pursuit of Happyness). Conrad said in jest the audience on hand is the largest he had ever seen for this particular film. He also expressed the thanks of film director Gore Verbinski, who was unable to attend.

Overall The Weatherman was a hilarious comedy with a great amount of drama that was well delivered by the actors and the script was fantastic. Both Conrad and Bellows were glad to answer any questions the audience still had, and had a great time doing it.