Strangers With Candy

Strangers With Candy

If you’re gonna reach for a star, reach for the lowest one you can.

How did I miss this? In 1999 Comedy Central began airing Strangers With Candy, a very dark comedy set within the framework of an after-school special. The series was created and written by Mitch Rouse, Paul Dinello (who played the art teacher), Stephen Colbert (who played the history teacher), and Amy Sedaris (who played central character Jerri Blank). I had vaguely known about it earlier, but it wasn’t until I heard an interview with Colbert (whose work on The Daily Show is brilliant), where he talked about Strangers With Candy, that I wanted to see it. The way that he described it was that it was an after-school special where all of the characters consistently make the wrong decision.
It falls within the genre of cringe comedy and in some ways could be seen as a precursor for Curb Your Enthusiasm or The Office (at least in terms of preparing people for it). As with both of those later shows, it took me a while to understand the show and figure out the rhythms of it. My initial reaction with all of those shows was not to really like it, but after I figured it out they became some of my favourite shows. Within all of the shows a common thread in the central characters is a lack of self-awareness combined with a selfishness. Strangers With Candy has an absurd level that takes it beyond the documentary styles of the other shows.
The central conceit of Strangers With Candy is that Jerri Blank, a self-described “boozer, user and loser” who returns to complete high-school at age 46 after running away and having a life of drug abuse, crime and prostitution. Nobody notices or mentions that she’s nearly 30 years older than her classmates as she deals with typical high-school after-school special problems every week. Jerri Blank’s years of experience haven’t changed her much and she still has an odd innocence and lack of social skills. Jerri has no filters and she interacts with her classmates, teachers and family (all stereotypes) and learns all of the wrong lessons.
The framework of the show follows the tried-and-true after-school special delivering valuable messages, but sprinkled throughout the series are great sight gags and characters. Principal Onxy Blackman (played by Greg Holliman, is an authoritarian principal who has his image scattered throughout the school and speaks in bizarre metaphors and has secret doorways in his office. At one point he says, “I’m an obtuse man, so I’ll try to be oblique.” The strange non-sequiturs extend to the end credits, which consist of cast members dancing to different songs as the credits roll.
I’ve watched the first two of three seasons and the second season really clicked for me. In the first season it felt a bit uneven and Jerri Blank is a difficult character to warm up to. Amy Sedaris is remarkable as Blank. Her face distorts in ways that don’t seem humanly possible and with odd physical and verbal tics, she creates a singular character who is somewhat repulsive, but still strangely interesting.
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July 15, 2005 , , ,

Take the Money and Run

Take the Money and RunOne of the things about subscribing to a movies-by-mail service like Zip.ca is that my obsessive tendencies in watching films can be catered to. So one of the things that I’m doing is going through and adding many older films and collections of films. One of the collections that I’m going through are the early films of Woody Allen and I started with Take the Money and Run, which was his first feature film that he wrote, directed and acted in from 1969. Done in mockumentary style, it’s filled with bits of Allen’s standup and elements that show up in his later work. There are some great sight gags, non-sequiturs and strange situations. At times there is a feeling similar to later comedies such as Airplane! While it is a comedy, the skill in the film is how the cast plays it completely straight which allows Allen to riff and inject jokes into the scenes. The film also features one of my all-time favourite comedy scenes where Allen gives a note to a bank teller who has trouble reading it. The absurdity builds as the teller calls other coworkers over to help him decipher the note as Allen patiently waits and tries to explain.
Structurally it’s more of a parody of prison and crime films, there are some nice moments between the characters that suggest elements that emerge in his later films. The film holds up very well with very few jokes that require a great deal of knowledge of the time. It’s fascinating (and very funny) to see the early work of a director after seeing much of their later work.

July 8, 2005 , , , ,

Baisers Volés (Stolen Kisses)

I’ve been brushing up on my cinematic history lately and was very glad to see Baisers Volés (Stolen Kisses), which is part of François Truffaut‘s Antoine Doinel series with the actor Jean-Pierre Léaud. It’s light and fun and follows Doinel through a series of jobs and romantic entanglements. There is a wonderful improvisational feeling to the whole film as it moves along. Léaud is very watchable and is filled with nervous energy. Much of the enjoyment is watching him walk and move and squirm. It’s a film that is light on plot and I loved seeing Antoine Doinel work as a private detective. He’s not good at his job (he’s not really sure what he wants) the work is really just a way to put him in to different situations. It’s nice to see a film that is light and funny done with skill.
The DVD is part of the Criterion Collection‘s The Adventures of Antoine Doinel and it has a few features on the disc that provide more context for the film. While the film is a light comedy, the situation in France in 1968 was completely different with the events of May 1968 and the uproar and the firing of Henri Langlois at the Cinémathèque Français. Baisers Volés begins with a shot of the front of the Cinémathèque and the camera then moves over to the military jail where we see Antoine Doinel. One of the extras on the disc is a newsreel of Truffaut and Jean-Luc Godard calling for the Cannes Film Festival to be cancelled (which it was). There is also an exerpt from an interview where Truffaut talks about Baisers Volés and explains how it was written and dissects a scene. Now I have to catch up on Truffaut’s other films.

July 6, 2005 , , ,

Birth

BirthBirth is a odd, subtle, and haunting film about love and loss directed by Jonathan Glazer. The film is built around an amazing performance by Nicole Kidman as a woman who can’t let go of her husband, who died 10 years earlier. Then a 10 year old boy appears and says that he is her husband reincarnated. What is great about the film is that it works very visually and has a wonderful ambiguity throughout. It’s been a long time since I’ve seen a film the exists so much in a visual sense. Spaces and faces often tell the story which is constructed out of absences. We fill in the blanks that exist in the film and nothing is completely clear. The film is also manipulative (which I loved) and it slowly moved me toward one point of view and then switched it around. At times I was reminded of the films of Stanley Kubrick in the strong visual storytelling style and use of zooms. I love seeing a film that has the confidence to not tell me what to think through expository dialogue or other obvious techniques. You have to pay attention and watch as the pieces slowly begin to connect. Birth is a film that sticks with you as you roll the ideas around in your head for days. By shifting a situation that is common or cliché (lost love returns, someone begins an affair, jealousy over old boyfriend, can love ever die?) and adding a twist (lost love is a 10 year old boy) it allows us to see things that we wouldn’t normally see. Where do you draw the line? We watch the characters struggle with these strange dilemmas that are disguised and transposed challenges that people face every day.

July 1, 2005 , , , ,

Sonic Outlaws

Craig Baldwin‘s 1995 documentary Sonic Outlaws tells the story of audio visual artists and rebels who increasingly are being threated by laws that twist the notion of copyright and creativity. One of the stories in the film is that of Negativland and their battle with Island Records over their amazing reworking and recontextualizing of some audio by Casey Kasem and some of the band U2‘s song, “I Still Haven’t Found What I’m Looking For”. The film is filled with appropriated images and sound and demonstrates the techniques through the interviews and excerpts from the work of the artists interviewed. Shot with a wide range of film and video formats (including the low-res Fisher-Price Pixelvision!), it’s a constantly-changing audiovisual feast with images and sound that tap into our collective pop-culture memory. It also is an important account of the folk-art roots and history of cultural commentary and collage.
Things have become much more challenging since the release of the film. The media and electronics conglomerates have clamped down much more both legally and technologically to prevent the recording and reuse of material. The “record” button on VCRs in the future will not be controlled by you! While the situation for artists now is not great, in Sonic Outlaws we see those who fight for the right to remix and reuse and they do it with skill and humour.
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June 29, 2005 , , , , , ,

Breakfast With Hunter

The recent death of Hunter S. Thompson has probably prompted many people to watch the films connected with the good doctor that founded and practiced Gonzo journalism. I went looking for Where the Buffalo Roam and Fear and Loathing in Los Vegas, but they were all out, but they did have the documentary Breakfast With Hunter, directed by Wayne Ewing, so I rented that. At another video store I was able to get Where the Buffalo Roam, which I watched before the 2003 documentary about Hunter S. Thompson, so I was able to see Bill Murray’s interpretation and then the man himself in a documentary that I didn’t know much about. I was pleasantly surprised and saw a side of Thompson that I heard about, but hadn’t seen. The documentary follows Thompson through a drunk driving charge and the days before and during the shooting of the adaptation of Fear and Loathing in Las Vegas. The most fascinating scene was a visit by writer Tod Davies and Alex Cox who was slated to direct Fear and Loathing in Las Vegas where you see why he didn’t end up directing the film.
Overall Breakfast With Hunter is an entertaining documentary that gives you a glimpse at a rare writer who had fun while telling his stories.
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March 2, 2005 , , , , ,