scene project take 19...

La Historia Oficial (The Official Story)(1985) - Norma Aleandro and Chela Ruiz

SPOILER ALERT!!!! REALLY, I MEAN IT!









The Official Story is an intensely moving look at the devastating results of the military dictatorship that had plagued Argentina from 1976 to 1983. This story focuses on the "disappeared" - those people who were kidnapped by the military in the middle of the night and never heard from again. Alicia (Aleandro) is a history teacher married to a well-respected man and together they share an adopted daughter, Gaby. Alicia slowly begins to question the circumstances surrounding Gaby's adoption and in the above scene, the true story of Gaby's birth mother and her "adoption" is brought to life by Sara (Ruiz), whom we discover has a very strong tie to the young girl.

This is certainly the most devastating scene I've ever encountered whose soundtrack is provided by arcade games (you can see one such game in the 2nd still). Sara presents Alicia with a series of photos of her daughter who was among the "disappeared." When she was kidnapped, she was pregnant and when Alicia sees that first photo and sees the startling resemblance to her darling Gaby, her world is turned upside down in an instant.

Both Aleandro and Ruiz do incredible, wrenching work here. It should be noted that this movie was made just 2 years after the dictatorship was overthrown, so all of these wounds both for the filmmakers and for the audience are extremely fresh and raw. All you have to do is look at Ruiz's face (stills 3 and 5) to see the years of strife and heartbreak she's experienced. And Aleandro, one of Argentina's most successful actresses, does a brilliant job of transitioning from total shock to utter despair. It is a startling moment in a movie full of startling moments. Amid the tears there is a definite bond that is formed between Sara and Alicia that only fuels their ambition to uncover the truth and no longer abide by the "official story." The film is a wonderful history lesson as well as a beautifully crafted work that tells a compelling and harrowing story. And you will most certainly bow to the brilliance that is Norma Aleandro.

secrets and lies...

Secrets and Lies (1996)




I was first exposed to the brilliant filmmaking of Mike Leigh through Secrets and Lies. In 2003, by acting obsession was born and I scrambled like mad in search of brilliant performances on film. In that pursuit, I landed on Brenda Blethyn in this movie. The film centers on a young, black woman (Marianne Jean-Baptiste) who seeks out her birth mother and discovers she is white (Blethyn). The story follows their budding relationship and the effect that has on them and the people in their lives.

Seeing a Mike Leigh movie for the first time is an intense and overwhelming and thrilling experience. I still vividly remember the range of emotions I went through while watching - laughter, sadness, depression, pity, etc. Every single actor is perfection in their roles, but Blethyn is definitely the stand out. Her utter commitment to this character despite her being a bit grating and unattractive is a beautiful thing to watch. Because all characters in Mike Leigh films are literally made from nothing between actor and director, they feel like real people with backstory, flaws, dreams, memories, etc. And that's what his movies are really about: people. In fact, if you read the synopsis for some of his films they may not sound that fascinating, but the characters are about as rich and multidimensional as you'll ever see. And they stay with you long after the credits roll because you wonder what they're going to do next. You grow to care about them because of their authentic depiction.

Another aspect of Leigh's films that are so marvelous is his respect for female actors of all ages and allowing them to show what they're fully capable of. Some of the best female performances of the last 20 years are within his movies: Blethyn here, Alison Steadman in Life Is Sweet, Lesley Manville in Another Year, Imelda Staunton in Vera Drake, Sally Hawkins in Happy-Go-Lucky. These are true actors who have the deepest respect for their craft and Leigh gives them full reign to shine.

His movies are not always easy to watch - the emotions on display can be overwhelming, but the experience is thrilling. It's almost like watching a live theatrical presentations because of the immediacy and, again, rawness of the performance and focus on character. If you have yet to venture into Mike Leigh land, I suggest you do.

Another quick note, this movie contains a key scene between Blethyn and Jean-Baptiste that's shot in one take and it will knock your socks off...I'll leave you to seek it out.

feel like garbo...

Here is a fantastic performance by Nanci Griffith of Late Night Grande Hotel during Austin City Limits in the early 90s. As I've said before, Nanci performing one of her songs without playing the guitar is a rare treat. Of course I adore her finger-picking guitar playing, but she really wholly and completely immerses herself in her songs when without it. The lyrics to this one are pretty aching and you sense the experience she's had with those lonely times she sings about.

I feel like Garbo in this late night grande hotel
'cause livin' alone is all I've ever done well

Some criticize the slightly slicker sound of this song and others from this era, but this ranks up there as one of my favorite Nanci songs. Sure there is a bit of studio sheen on the cut, but the emotions displayed in the lyrics and her performance are just as raw and open as anything else she had written.

hello...

I’m ready to alter my dreamscape of one
Into a wonderland that we together have spun

It won’t always be light, some darkness will come through
But we’ll have each other, and this magnificent view

Hello…

trouble in the fields...

"Trouble In The Fields"

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This song popped into my head a couple of weeks ago and I was struck once again by the brilliant and timeless lyrics. The song follows a couple who live on a farm and are going through difficult financial times - but have the hope to get them through.

All this trouble in our fields
If this rain can fall, these wounds can heal
They'll never take our native soil.
And if we sell that new John Deere
And we'll work these crops with sweat and tears.
You'll be the mule, I'll be the plow
Come harvest time, we'll work it out.
There's still a lot of love
Right here in these troubled fields.

It's a beautiful sentiment that could certainly still apply today in our difficult economic times. It's wonderful to have Nanci remind that there is still a lot of love, right here in these troubled times and we really need to focus on that and it will get us through. Certainly easier said than done, but it's the way to do it.
This is a great live version - I love when it's just Nanci, her words and her guitar - not much beats that.

footsteps...

Nobody here
Never anybody here
I thought this was how I wanted it
Never minded it before, never one bit
Just lately this feeling is beginning to nag

I’d like somebody here
Someone to turn out the light
Someone to whisper goodnight
I’d like somebody here

I don’t think I’m asking much
Not for the stars and not for the moon
Not even for a whistle, not even for a swoon.
Just to have someone by my side
Who’s eyes I catch and whose eyes catch mine

I’d like somebody here
Someone to turn out the light
Someone to whisper goodnight
I’d like somebody here

So bring that somebody round
Oh how great will be the sound
Of the somebody’s key in the door
And the footsteps on the floor
Getting louder and louder as they approach…

I’d like somebody here
Someone to turn out the light
Someone to whisper, beautiful, goodnight
I’d like somebody here

So, when those footsteps, will I hear?

silent pictures...

My dreams are my compass
They tell me no lies
They speak to me in pictures
A feast for the eyes

There’s a man painting on the side of the road
Fields of grain surround him and the wind touches all
I wonder where he came from, among these vast fields
For I see no signs of human life, in this place untouched by sprawl

Then I blink and am suddenly in London
Where people are bustling about
Across the street I see hints of the sea
I hurry through a park, determinedly
To get to that vision of blue and sand.
And when I reach the shore and stand
And let the waves wash over me
I look from right to left and left to right
And see no one, no one in sight.

I dream of beautiful places
Of sunsets and oceans and vast fields of grain
Of old buildings and churches that are showing their strain
The visions are lovely and stay in my mind
And so does the one thing that I always find
I’m alone in my dreams, not willing to share
These marvels of landscape and sea and air

I’m the one creating these fairylands
They exist to comfort and scare me
So why cry a river when I look around
and see
No other soul
but me?