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By Ray Pride Pride@moviecitynews.com

DVD 5-4-3-2-1: new and recent releases

Jasmine287593.jpgAmong the best new and recent DVD releases: the six-hour epic Italian meller, The Best of Youth, plus more below, including Ryan, The Great Rock ‘N’ Roll Swindle, and The Constant Gardener.


Ryan857903_abc.jpg5. Ryan, Chris Landreth (****, Rhino, $20). Last year’s more-than-deserving best animated short Oscar winner is a timely treat before this year’s kudos, a lysergic excursion literally into a man’s head: Landreth interviews 1960s Canadian animation great Ryan Larkin, whose career and life were marred by addictions, and now lives on streets and in shelters. The insecurities of the two men suggest Landreth’s brilliant breakthroughs in computerized animation; the DVD contains commentary, examples of Larkin’s earlier work and a documentary on the National Film Board’s investment in this new approach to animation.
4. The Great Rock ‘N’ Roll Swindle, Julien Temple (***, Shout Factory, $20) It’s been out for a while, but this long-out-of-reach screw-the-record-companies provocation has a newly timely quality to it. Ratty transfer, and certainly dated from the time Variety called it “the Citizen Kane of rock documentaries,” but there’s a time capsule worth of attitude in the movie (especially from manager and macher Malcolm MacLaren) and in director Julien Temple’s commentary.
3. The Constant Gardener, Fernando Meirelles (*** ½, Universal, $30). Maybe it would have been better without such a darkly futile “romantic” ending, but there’s gentle beauty and terrible things throughout.
2. Thumbsucker, Mike Mills (*** ½, Sony, $25). Mike Mills has eyes and ears and intends to use them.
Jasmine287593.jpg1. The Best of Youth (La Meglio gioventù), Marco Tullio Giordana (****, Miramax, $30). What television, what luxury, what cinema this is. Made for Italian TV and released only briefly in the waning days of Weinstein Miramax, this six hour telling of several lives over forty years of tumultuous Italian history deserves watching, not synopsis. This could have been one of my favorite films of 2005, if there had been more chances to see it on the big screen. Passionate, observant, tender and sad: it’s simply great.
OTHER RECENT RELEASES: Dave McKean’s intricately hand-made fable, Mirrormask (*** ½, Sony, $27); the Chris Gore-written topical comedy with few gags that actually work, My Big Fat Independent Movie (*, Anchor Bay, $20); Aardman’s arduous animation, Wallace & Gromit: The Curse of the Were-Rabbit (**, DreamWorks, $20); Chris Columbus’ thin yet personal edition of the musical Rent (**, Sony, $29); All The President’s Men (*** 1/2, Warner, $27), with Robert Redford’s first commentary in this post-Deep Throat revelation 2-disc reissue; Kiyoshi Kurosawa’s long-delayed but still chilling tech-horror Pulse (*** ½, Magnolia, $27); CLAIRE DOLAN283475.jpgClaire Dolan (***, New Yorker, $30), obstinate Lodge Kerrigan’s cool, geometric take on an urban call girl’s life, with a stellar perf by the late Katrin Cartlidge; the comic Torremolinos 73 (***, First Run Features, $30) > about an encyclopedia salesman whose life is changed by giddy cinephilia; The Take (***, First Run Features, $30), Naomi Klein and Avi Lerner’s documentary about labor relations in one manufacturing plant in beleaguered Argentina; Michael Almereyda’s doc on the great photographer, William Eggleston In the Real World (*** ½, Palm, $27); and Jia Zhangke’s The World (*** ½, Zeitgeist Films, $30), a vast metaphor for globalization in the comings-and-goings of workers at a Beijing amusement park studded with scale replicas of world monuments. (“We’ve still got our Twin Towers,” one guide notes.)

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon