cinemacy
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In literature, there is a term called the "Hemingway Hero," which is essentially a set of noble traits and honorable qualities that the reader should aspire to, much like any character in an Ernest Hemingway novel. Every writer attempting to create this attribute will find that the qualities that make up a hero today compared to that of Hemingway's day are consistent and timeless. This idea of what makes a man a man, and living a life of "honor, courage and endurance in a world that is sometimes chaotic, often stressful, and always painful" will forever ring true to those in search of a deeper meaning of life. The Bob Yari-directed film Papa: Hemingway in Cuba, tells the true story of one man's relationship with the legendary writer Ernest Hemingway, and essentially starting his journey to find his own, literal, "Hemingway Hero".
"What do you say to the man who changed your life, and never even knew you?" Ed Myers (Giovanni Ribisi), a journalist at the Miami Herald in the 1950s, asks this question while struggling to find the words for a letter he plans to send to his idol, Ernest Hemingway (Adrian Sparks). Growing up an orphan during the depression, Myers' voice-over explanation reveals that he had always wanted to be a writer and an adventurer. His lack of family ties created a longing for someone to look up to, someone to be a father figure. He writes all of this and more in his letter, spilling his soul onto the page. Then, one day, Myers gets a life-changing phone call from the man himself, telling him how much he appreciated the letter and then asking him to travel to Cuba to spend time with him.
While the first third of the film tends to drag a bit slowly, it really comes alive when we follow Myers to Cuba and get to meet Hemingway. The atmosphere of the city and live music are electrifying, a juxtaposition to the man Hemingway had become by that point in his life. Myers quickly develops a closeness to Hemingway and his wife Mary (Joely Richardson), considering them the family he never had. However, their blissful life erupts into chaos as they immediately find themselves in the middle of the Cuban revolution.
The fact that this is a true story alone is worth watching, but probably the biggest selling point is that this is the first Hollywood film to be shot in Cuba in over 50 years. The authenticity of being able to shoot in the original locations including the bar El Floridito and Hemingway's actually home in Finca Vigia, which is now preserved as a national museum, is a fascinating thing to see. Possibly the coolest memento of all, though, is that the typewriter used in the film is Hemingway's original one.
Personally, a big fan of Hemingway myself, (I did name my dog Ernest after all), seeing this time period in his life is difficult as we all know the outcome of his losing battle with depression. It is a hard pill to swallow watching him stick a revolver in his mouth and beat his wife. For as beautiful the worlds he created in his books, the man we see on screen is a tortured artist that is struggling to see the purpose of his own life. Adrian Sparks captures both Hemingway's brilliance and demons in his performance, truly giving justice and respect to the late author.
As much as you become absorbed in Sparks' performance, there are moments that can take you out of the film. At times Ribisi comes off somewhat flat, for example, getting that initial call from his idol, Hemingway himself, he barely seems to muster up any excitement. Instead, it feels as if that scene may have been rehearsed one too many times and, by that take, he was just going through the motions. Another head scratching moment is how quickly the film jumps into some scenes without much setup. One moment, Myers is on the beach in Cuba, the next he's on the beach in Florida telling his girlfriend (Minka Kelly) about his trip to Cuba. It feels rushed, but at this point, we've become invested in these characters that we're along for the ride so we don't really care where we're going or how we get there.
Papa: Hemingway in Cuba is a stunning portrait of one of the greatest authors and storytellers of the 20th century. Bob Yari takes the biopic and breathes life into the genre just by the sheer amount of authentic details (like the shooting locations alone), plus this inspiring and true story of one man's search for the meaning of life is something we can all relate to. Bonus- Keep an eye out for a quick cameo from Ernest's granddaughter Mariel Hemingway.
For more, visit www.cinemacy.com
"What do you say to the man who changed your life, and never even knew you?" Ed Myers (Giovanni Ribisi), a journalist at the Miami Herald in the 1950s, asks this question while struggling to find the words for a letter he plans to send to his idol, Ernest Hemingway (Adrian Sparks). Growing up an orphan during the depression, Myers' voice-over explanation reveals that he had always wanted to be a writer and an adventurer. His lack of family ties created a longing for someone to look up to, someone to be a father figure. He writes all of this and more in his letter, spilling his soul onto the page. Then, one day, Myers gets a life-changing phone call from the man himself, telling him how much he appreciated the letter and then asking him to travel to Cuba to spend time with him.
While the first third of the film tends to drag a bit slowly, it really comes alive when we follow Myers to Cuba and get to meet Hemingway. The atmosphere of the city and live music are electrifying, a juxtaposition to the man Hemingway had become by that point in his life. Myers quickly develops a closeness to Hemingway and his wife Mary (Joely Richardson), considering them the family he never had. However, their blissful life erupts into chaos as they immediately find themselves in the middle of the Cuban revolution.
The fact that this is a true story alone is worth watching, but probably the biggest selling point is that this is the first Hollywood film to be shot in Cuba in over 50 years. The authenticity of being able to shoot in the original locations including the bar El Floridito and Hemingway's actually home in Finca Vigia, which is now preserved as a national museum, is a fascinating thing to see. Possibly the coolest memento of all, though, is that the typewriter used in the film is Hemingway's original one.
Personally, a big fan of Hemingway myself, (I did name my dog Ernest after all), seeing this time period in his life is difficult as we all know the outcome of his losing battle with depression. It is a hard pill to swallow watching him stick a revolver in his mouth and beat his wife. For as beautiful the worlds he created in his books, the man we see on screen is a tortured artist that is struggling to see the purpose of his own life. Adrian Sparks captures both Hemingway's brilliance and demons in his performance, truly giving justice and respect to the late author.
As much as you become absorbed in Sparks' performance, there are moments that can take you out of the film. At times Ribisi comes off somewhat flat, for example, getting that initial call from his idol, Hemingway himself, he barely seems to muster up any excitement. Instead, it feels as if that scene may have been rehearsed one too many times and, by that take, he was just going through the motions. Another head scratching moment is how quickly the film jumps into some scenes without much setup. One moment, Myers is on the beach in Cuba, the next he's on the beach in Florida telling his girlfriend (Minka Kelly) about his trip to Cuba. It feels rushed, but at this point, we've become invested in these characters that we're along for the ride so we don't really care where we're going or how we get there.
Papa: Hemingway in Cuba is a stunning portrait of one of the greatest authors and storytellers of the 20th century. Bob Yari takes the biopic and breathes life into the genre just by the sheer amount of authentic details (like the shooting locations alone), plus this inspiring and true story of one man's search for the meaning of life is something we can all relate to. Bonus- Keep an eye out for a quick cameo from Ernest's granddaughter Mariel Hemingway.
For more, visit www.cinemacy.com
Sometimes, the end of the world comes about in two ways. There's the scenario in which the actual apocalypse strikes, bringing about the general destruction of planet Earth and its beings. And then there is the time when one loses a parent.
In her first and now second back-to-back feature films, writer/director Lorene Scafaria has explored both end-of-days events, as well as the common theme of having her characters forced to find levity and comedy in, and finding the will to carry on amidst, the face of such devastating events – but only taking real-life experience from the latter.
In Scafaria's follow-up to her directorial debut, 2012's 'Seeking a Friend for the End of the World', the 'Nick and Norah's Infinite Playlist' scribe offers an altogether joyful and uplifting tale of human life realism that, though still tinged with some mournful and heartbreaking tone, explores with such heart what happens after someone's world ends, the new reality that must then be accepted and the snags in life that come with it.
In Scafaria's own tale of personal devastation, the writer and director learned of her father's passing when in the middle of shooting 'Seeking a Friend'. Shocked, distraught, and altogether dazed, her mother proceeded to fly out to comfort and support her daughter through the production and finishing of the movie, and subsequently, becoming a new part of her daughter's crazed world.
'The Meddler' is exactly that story, a loving tribute of a film from Scafaria to and about her mother, and how the pair were faced with figuring out how the other fits into their lives. Marnie (Susan Sarandon), a spirited, life-affirming, if only slightly overbearing woman, so well- intentioned and good-hearted that she sees no boundaries or personal space between her and the people whose lives she stumbles into, and inadvertently helps in such genuine and caring ways. Her sunny and eager-to-assist disposition are great for everyone around her, including her daughter's new bride-to-be friend Jillian (Cecily Strong) and retired officer of the law "Zipper" (J.K. Simmons), who also manages to catch her eye – everyone, that is, except for her recently single and anxiety-ridden daughter Lori (Rose Byrne).
Scafaria shows Sarandon's wholesome meddling, but in such a loving way that Marnie's entire character is one that can't help but be looked at as endearing, sentimental, and caring in that classic, overly-attentive "mom" kind of way (a running joke shows Marnie leaving voicemail upon voicemail to a Lori, only asking her daughter to text her to make sure she's OK). Sarandon here is a true joy – this movie is a vehicle around the star, and she doesn't disappoint when on screen (in the beauty department as well), even when the story lacks in urgency or real development.
As a movie, 'The Meddler' is pretty much just a series of situationally-comedic events – she buys an iPad for a baby shower present, accidentally gets stoned when trying to get rid of a younger friend's bag of pot, and walks onto a movie set and becomes an "extra." The winning factor is that Sarandon herself shows so much life, still so comedically and dramatically deft and sharp, which should tickle the middle-aged-mom crowd out there.
'The Meddler', if not the most challenging or complex look at familial loss beyond being a good time, is a highly personal film. Scafaria's near-autobiographical film, that seeks to win over audiences with its funny look at a tragic life, feels tonally reminiscent of writer/director Maya Forbes' 2014 dramedy 'Infinitely Polar Bear', in which Mark Ruffalo stars as Forbes' manic- depressive father, telling a story of morose nature but with light-hearted and optimistic fever. And like that film, 'The Meddler' wins audiences over by its message of how important it is to continue to smile – to live – in the face of grief. Because the end of one world also means the beginning of a new one.
In her first and now second back-to-back feature films, writer/director Lorene Scafaria has explored both end-of-days events, as well as the common theme of having her characters forced to find levity and comedy in, and finding the will to carry on amidst, the face of such devastating events – but only taking real-life experience from the latter.
In Scafaria's follow-up to her directorial debut, 2012's 'Seeking a Friend for the End of the World', the 'Nick and Norah's Infinite Playlist' scribe offers an altogether joyful and uplifting tale of human life realism that, though still tinged with some mournful and heartbreaking tone, explores with such heart what happens after someone's world ends, the new reality that must then be accepted and the snags in life that come with it.
In Scafaria's own tale of personal devastation, the writer and director learned of her father's passing when in the middle of shooting 'Seeking a Friend'. Shocked, distraught, and altogether dazed, her mother proceeded to fly out to comfort and support her daughter through the production and finishing of the movie, and subsequently, becoming a new part of her daughter's crazed world.
'The Meddler' is exactly that story, a loving tribute of a film from Scafaria to and about her mother, and how the pair were faced with figuring out how the other fits into their lives. Marnie (Susan Sarandon), a spirited, life-affirming, if only slightly overbearing woman, so well- intentioned and good-hearted that she sees no boundaries or personal space between her and the people whose lives she stumbles into, and inadvertently helps in such genuine and caring ways. Her sunny and eager-to-assist disposition are great for everyone around her, including her daughter's new bride-to-be friend Jillian (Cecily Strong) and retired officer of the law "Zipper" (J.K. Simmons), who also manages to catch her eye – everyone, that is, except for her recently single and anxiety-ridden daughter Lori (Rose Byrne).
Scafaria shows Sarandon's wholesome meddling, but in such a loving way that Marnie's entire character is one that can't help but be looked at as endearing, sentimental, and caring in that classic, overly-attentive "mom" kind of way (a running joke shows Marnie leaving voicemail upon voicemail to a Lori, only asking her daughter to text her to make sure she's OK). Sarandon here is a true joy – this movie is a vehicle around the star, and she doesn't disappoint when on screen (in the beauty department as well), even when the story lacks in urgency or real development.
As a movie, 'The Meddler' is pretty much just a series of situationally-comedic events – she buys an iPad for a baby shower present, accidentally gets stoned when trying to get rid of a younger friend's bag of pot, and walks onto a movie set and becomes an "extra." The winning factor is that Sarandon herself shows so much life, still so comedically and dramatically deft and sharp, which should tickle the middle-aged-mom crowd out there.
'The Meddler', if not the most challenging or complex look at familial loss beyond being a good time, is a highly personal film. Scafaria's near-autobiographical film, that seeks to win over audiences with its funny look at a tragic life, feels tonally reminiscent of writer/director Maya Forbes' 2014 dramedy 'Infinitely Polar Bear', in which Mark Ruffalo stars as Forbes' manic- depressive father, telling a story of morose nature but with light-hearted and optimistic fever. And like that film, 'The Meddler' wins audiences over by its message of how important it is to continue to smile – to live – in the face of grief. Because the end of one world also means the beginning of a new one.
Writer/Director Nitzan Gilady's charming film Wedding Doll won audiences over at the Jerusalem Film Festival and the Ophir Awards (Israeli Oscars), taking home the top honors of 'Best Actress' and 'Best Film', respectively, among others. Today, the festival favorite will hit screens stateside and is sure to attract American audiences with rising star Moran Rosenblatt's phenomenal performance of a mildly handicapped woman who wants to fall in love.
25-year-old Hagit (Rosenblatt) dreams of her wedding day, anticipating the moment she will put on the iconic white dress that she's become obsessed with- magazine cutouts of gowns and brides cover her bedroom walls like boy band posters from the 90's. However, Hagit doesn't realize her fairy tale romance may never come to fruition because of her mild mental handicap, making her dependent on her mother's help for many everyday tasks. When she is not under constant supervision of her mother Sara (Assi Levy), Hagit works in a small factory manufacturing and assembling toilet paper packages and makes little wedding dolls out of toilet paper to pass the time. She has become infatuated with her boss's son Omri (Roy Assaf), who happens to be the only other person working at the factory. They strike up a friendship, but she perceives it is much more. When the factory realizes it needs to shut it's doors for good, Hagit's desire for independence and quest to find true love is pushed further than she may be capable of understanding.
Rosenblatt embodies Hagit with such detail, nailing every quirky trait no matter how small. Her reactions to being called 'weirdo' and 'goofy' are understated, but we see the sharp pangs of pain etched on her face. But this isn't just Hagit's story, it is as much that of her mother, Sara, as we see her struggle to keep a job as a hotel housekeeper, as well as the relentless responsibility of being Hagit's sole parental guardian while trying to also have a love life. Sara attempts to do all three, but as a result of biting off more than she can chew, does none of them well. Assi Levy plays Sara with the necessary confidence to allow audiences to trust her choices, yet with a strain of vulnerability that evokes sympathy for her.
Not only does Wedding Doll nail the performances, the cinematography is just as engaging. Set in the desert on the outskirts of the city, the aesthetic is rich in color and incorporates various textures as well; the abundance of stone, tile, water, and paper make for a pallet any artist would envy.
Wedding Doll runs at a swift 80 minutes and thankfully, never feels rushed. Every scene is engaging and there is purpose and value in every moment. Gilady has managed to trim the fat and delivers a sleek and concise coming-of-age love story that is far more unique than others of recent production.
For more, visit www.cinemacy.com
25-year-old Hagit (Rosenblatt) dreams of her wedding day, anticipating the moment she will put on the iconic white dress that she's become obsessed with- magazine cutouts of gowns and brides cover her bedroom walls like boy band posters from the 90's. However, Hagit doesn't realize her fairy tale romance may never come to fruition because of her mild mental handicap, making her dependent on her mother's help for many everyday tasks. When she is not under constant supervision of her mother Sara (Assi Levy), Hagit works in a small factory manufacturing and assembling toilet paper packages and makes little wedding dolls out of toilet paper to pass the time. She has become infatuated with her boss's son Omri (Roy Assaf), who happens to be the only other person working at the factory. They strike up a friendship, but she perceives it is much more. When the factory realizes it needs to shut it's doors for good, Hagit's desire for independence and quest to find true love is pushed further than she may be capable of understanding.
Rosenblatt embodies Hagit with such detail, nailing every quirky trait no matter how small. Her reactions to being called 'weirdo' and 'goofy' are understated, but we see the sharp pangs of pain etched on her face. But this isn't just Hagit's story, it is as much that of her mother, Sara, as we see her struggle to keep a job as a hotel housekeeper, as well as the relentless responsibility of being Hagit's sole parental guardian while trying to also have a love life. Sara attempts to do all three, but as a result of biting off more than she can chew, does none of them well. Assi Levy plays Sara with the necessary confidence to allow audiences to trust her choices, yet with a strain of vulnerability that evokes sympathy for her.
Not only does Wedding Doll nail the performances, the cinematography is just as engaging. Set in the desert on the outskirts of the city, the aesthetic is rich in color and incorporates various textures as well; the abundance of stone, tile, water, and paper make for a pallet any artist would envy.
Wedding Doll runs at a swift 80 minutes and thankfully, never feels rushed. Every scene is engaging and there is purpose and value in every moment. Gilady has managed to trim the fat and delivers a sleek and concise coming-of-age love story that is far more unique than others of recent production.
For more, visit www.cinemacy.com