Miss Teacher 2 Web Series Imdb

[Stephani Kapnick]

September14 The Filth and the Fury (USA/UK 2000) 108 mins.

Rated R, as you would expect. [IMAGE]

Directed by Julien Temple.

Profs: do your students appear tohave more stud piercings than St. Sabastien? Students, do alarm bells go offlouder than air raid sirens when you walk through airport security checks?If you are wondering why we are still interested in checking out the punk'movement' then just look around. The legacy of this anarchic culturalphenomenon is still with us, however tamed by the fashion demands of latecapitalism. Director Temple had already scored on the subject with hiswonderful documentary, The Great Rock 'n' Roll Swindle (1980) whichfeaturedSex Pistols manager Malcolm McLaren's account of how he created thenotorious unfab four. In this update, the boys themselves get to tell theirside of the story. Johnny Rotten, Steve Cook, Paul Jones and even the lateSid 'My Way' Vicious go a fair distance to explaining an important slice ofsocial history. Temple well animates the message of punk, repeatedlyreturning to the source of all that seventies rage: the British classsystem, the Queen, and even well beyond her to Richard III. One criticrefers to The Filth and the Fury as 'nipple clamps for the brain.' Uh,perhaps you might want to wear a hat.A film about the career of the notorious punk rock band, the Sex Pistols.

September 21 Joe Gould's Secret (US 2000) 104 mins.

Rated R. [IMAGE]

Directed by Stanley 'Big Night' Tucci.

With Ian Holm and Stanley Tucci. Written by Howard A. Rodman.

Based on "Professor Seagull" and "Joe Gould's Secret" by Joseph Mitchell.This small low-budget picture actually opened the Sundance Film Festivalthis year, a gesture underscoring the importance of the writer's craft aboveall else. Indeed, this is a film about words, and the characters who canmake them important. Based on a true story, Tucci stars as the New Yorkerwriter (Mitchell) who stumbled upon a street tramp (Holm as Gould)proclaiming he was producing an oral history of -- everything. Most of ushave heard similar rants down at the Ship, but Gould actually claimed he hadtranscribed enough conversations to add up to a whopping 1.2 million words.Mitchell suspended his belief and tried to publicize Gould's achievement,but, in fact, he never did see the actual document. The New York of thefifties is evoked realistically here, as is the urgency of Gould's littlesthobo rants and roars. As Gould, Ian Holm is up to his predictablebrilliance, becoming the character as naturally as stepping in urbangarbage. Tucci wears great clothes but his direction reminds us that he'smore than a good-looking character actor.

September 28 Not One Less (China 2000) 106 mins.

aka Yi ge dou bu neng shao [IMAGE]

Directed by Yimou Zhang.

Starring Wei Minzhi, Gao Enman.

Very popular on themainland right now, and we don't mean mainland China. You might rememberZhang's amazing nineties films starring the gorgeous Gong Li--Raise theRed Lantern, Ju Dou and Shanghai Triad.The couple broke up and Zhang is trying to survive.Not One Less, although as unflattering to Beijing as any of hisother films, will probably help pay the bills. The film is about Wei, a 13year-old girl who is sent to look after a rabble of wild schoolchildren inthe provinces. Resources are so limited that chalk is a luxury. Thechallenge for young Wei is to keep all her charges in school. She earns abonus if she does. The poor kids generally leave school to go to work andhelp their families, however, so she has her work cut out for her,generating both hilarity and sorrow. Typical of Zhang's films, there isn'tmuch action, but we get to peek deep inside a society to which even specialvisas won't give access. It is worth noting that the cast consists entirelyof non-professionals who use their own names and portray characters fromtheir own walks of life. That fact raises the realism of this feature dramaby many bonus points, and makes for especially compelling viewing.

October 5 Chuck & Buck (USA 2000) 95 mins.

Rated R for sexuality and language. [IMAGE]

Directed by Miguel Arteta.

With Mike White and Chris Weitz.

Perhaps the mostwidely known feature on our series this fall, Chuck & Buck has been hugelypopular. Shot in what is becoming an art-house trend--quick digitalon-the-fly style--this movie is pretty daring in its attempt to out thehidden theme of childhood sexuality. The story centres on two childhood bestfriends who reunite when they are 27. Chuck, who is now a Charlie, hasmatured into the stereotypical L.A. record producer, complete with trophygirlfriend and cool buddies who have wandered off from Peter Fonda's partyin The Limey. Buck is still Buck, oddly undeveloped and never really havinggrown up. When they meet up again, Buck insists on reclaiming their youthfulintimacy, literally. His actions are at once natural and perverse, dependingon whether or not you want to give him the benefit of his doubts about thepleasures of the adult world. The movie is by turns hilarious anddisturbing, pressing buttons we might not have admitted we had. It cracksopen some questions about sexual identities and natural desires, and forcesus to wonder about the degree to which Buck reminds us of who we see in themirror. Highly recommended, but not if you think Anne of Green Gables is theultimate expression of childhood fantasies.

October 12 Judy Berlin (USA 1999) 93 mins.

Directed by Eric Mendolsohn.

With the incomparable Sopranos star, Edie `whatzamatterwityou' Falco, AaronHarnick, and Madelaine Kahn (in her last film role).

Set in thepredominantly NY Jewish suburb of Babylon, the movie begins with failedfilmmaker David (Harnick) being tossed out of his house by his mother(Kahn). He then runs into old classmate, Judy (Falco), an aspiring andpossibly terrible actress. Therein lies the premise for a tired film abouttwo losers. But something happens, what you might call a sign and wonder. Asolar eclipse occurs and lasts all day, casting everyone pretty well intodarkness. Groping about, the characters nonetheless find moments ofillumination. This first-feature by Mendelsohn shows his experience as adesigner on several Woody Allen movies. In fact, he shot some of it out ofhis own parents' Long Island house. If there is an influence it is thelater Woody Allen, who often makes small comedies about minor changes in thelives of ordinary people. An ensemble cast helps propel the cast and itswit, and a light confident touch transforms the suburbs into an enchanteddaydream. Mendelsohn won the Best Director Award at Sundance for thischarmer, so come see why.

October 19 Violet (Newfoundland premire) 111 mins.

St. John's International Women's Film and Video Festival.

Directed by Rosemary House and produced by Mary `cell phone' Sexton.

Starring Mary Walsh, Bernie Stapleton, Brian Hennessey, Andrew Younghusband,Janice Spence, Jody Richardson, and an esemble cast featuring almosteveryone you have ever seen or performed at the Ship.

Set among the verdant lawns of Mt. Scio, the story centres on Walsh as alibrarian who returns home when herbrother (Rick Boland) suddenly dies, the victim of both his drunken follyand an old family curse. Neurotic about her own mortality, which isaggravated by her middle-aged angst, Violet's nervous psyche activelyresists the friends and family members who try to help. House directs withItaly on her brain, morphing this emerald isle into a beautiful site ofpossibility as charmed as any enchanted summer. You will recognize the lookand feel of European romance here, appropriate enough since Walsh's Violetyearns to recapture the freedom and sensuality she once experienced inTuscan climes. Performances are strong, with some standout acting especiallyfrom Hennessey and Younghusband, whose mugs you never want off the screen.The title role seems to have been written for Walsh, however, who flashes usbits of Marge Delahunty and that spear-waving breast-plated warrior princessthing she does. Ultimately, though, Walsh invents the entirely new characterof Violet, a smart and feeling woman as far removed from donut-shop Connieas tin-bits are from savory.

October 26 East/West (France 1999) 120 mins.

aka Est/Ouest. English subtitles. [IMAGE]

Directed by Regis Wargnier.

With Catherine Deneuve, Oleg Menchikov, Sandrine Bonnaire.

"If you want to have a clear picture of howthe daily life under Stalin's USSR was, you must see this great movie."Of course, if not, you can always watch Rocky and Bullwinkle. Wargnier did themarvelous Indochine with Deneuve, so you will recognize the style and sweepof cinematic history here. The story opens at the end of WW II, when aRussian migr doctor named Alexei (Menchikov) takes up Stalin's offer toreturn and rebuild the motherland. He comes back with his French wife,Marie, and their boy to discover he's wandered into a pre-Potemkinnightmare. Stunned and disoriented by the brutality of Stalin's Russia, thecouple starts to disintegrate. Forced to act loyal and submissive, Alexeidoes whatever it takes to stay in official favour, even sleeping with everySoviet uniform he can. Marie, meanwhile, cannot tolerate that colludinggame. She comes from the West and refuses to understand the codes of acountry she loathes. Many plot manipulations ensue, as the film builds tothe intensity of a possible escape. Certainly director Wargnier knows how tojerk us around so that we are carried into over-the-top emotional pitches,the stuff on which movie plots thrive. Destined to have lost the BestForeign Film Oscar to the magnificent All About My Mother,East-Westnonetheless resonates in the light of post-Soviet Russia and all itsattendant troubles. Worth the price just to gawk at Deneuve herself, playinga liberating lefty with great Yves St Laurent make-up.

November 2 Color of Paradise (Iran 1999) 90 mins.

aka Rang-e khoda. In Farsi with English subtitles. [IMAGE]

Directed by Majid Majidi.

With Mohsen Ramezani, Hosein Mahjoob.

We have been waiting for this one, our first Iranianfeature, and one of apparently many brilliant Iranian efforts. An eight-yearold blind boy learns Braille. Eager to read everything, including nature'srifts and bumps, the child is utterly passionate about life's sensualpleasures. We are privileged to see the exquisite countryside denied theboy, but he experiences the world with more intense interest than most of usare capable with the aid of mind-altering substances. The Color of Paradisewon the top prizes at the Montreal Film Festival last year, blowing everyoneaway with its lucid message about cultural prejudices and religiousconstraints. When Mohammad's father worries that having a disabled boy willharm his chances to marry well, he sends him away to work for a blindcarpenter. We might very well end up asking who is really blind here. Thecinematography is breath taking, the acting natural, and the parable bothpersuasive and profound. Iran might become a new tourist destination if thiskeeps up.

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