MCN Columnists
Gary Dretzka

By Gary Dretzka

The DVD Wrapup: Rogue One, Office Party, Three, Story of Sin, Actor Martinez and more

Rogue One: A Star Wars Story: Blu-ray
If, like me, you were a tad confused about how Rogue One: A Star Wars Story would fit within the Star Wars mythos, especially since the franchise’s Mother Ship is currently between Episodes VII and VIII and two related novels, a soundtrack album and a video game also were being released in December. Moreover, “Rogue One” had been incorporated into YouTube’s “The Star Wars Show” and the ongoing “Lego Star Wars” series on Disney XD. Anyone who’s visited Disneyland lately can see the company’s commitment to the “Star Wars” franchise/brand by strolling past the former site of Big Thunder Ranch, which is giving way to a 14-acre mega-attraction, unofficially known as Star Wars Land. So, where does Rogue One: A Star Wars Story fit into the mix? In a nutshell, it is the first installment of the “Star Wars Anthology” series, set immediately before the events of the original Star Wars film. (Untitled “Anthology” standalones, including a Han Solo project, are set for 2018 and 2020.) Ironically, the story’s seed was planted way back in 1977, in the opening crawl of “Episode IV: A New Hope,” On it, quizzical audiences were advised that “Rebel spaceships, striking from a hidden base, have won their first victory against the evil Galactic Empire. During the battle, Rebel spies managed to steal secret plans to the Empire’s ultimate weapon, the Death Star …” OK. Four decades later, Rogue One: A Star Wars Story would follow that group of rebels on their mission to steal the plans for the Death Star, or die trying, which, of course, didn’t happen. According to interviews included in the extensive bonus package, John Knoll, visual effects supervisor for the prequel trilogy at Industrial Light & Magic, pitched the idea for the film 10 years before its development began. After the Disney acquisition of Lucasfilm, in 2012, Knoll decided to re-pitch it, this time to his new boss, Kathleen Kennedy, who ran it up the flagpole at the newly combined company.

The first things longtime fans will notice is the absence of an updated crawl and an overture by a composer not named John Williams, although his aural fingerprints can be heard throughout the score. Buffs probably were already aware of the absence of Jedi in the cast of characters and the difference in narrative tone from the other episodes. Director Gareth Edwards (Godzilla) and co-writers Chris Weitz (Cinderella) and Tony Gilroy (The Bourne Indentity) have emphasized that “Rogue One” was conceived as a war story with a sometimes ambiguous moral code. Otherwise, almost everything that happens in the story would require a spoiler alert to summarize. Because the movie has passed the billion-dollar barrier, worldwide, I suspect that very few, if any diehard fans have yet to see “Rogue One.” So, let’s not ruin the surprises for the one or two people out there who’ve yet to enjoy them. Returnees should know that the Blu-ay presentation is excellent, from beginning to end and inside-out. The more sophisticated the home-theater setup, the better the experience will be.  That said, however, while “Rogue One” is available in 3D, new owners of 4K UHD players and monitors will be disappointed to learn that Disney/Buena Vista has decided, once again, to play the delay game. Collectors should know, as well, that Best Buy, Wal-Mart, Target and the Disney Store – surprise, surprise – offer the movie in exclusive packaging and slightly different bonus selections. None of the dozen making-of featurettes is longer than nine minutes, but they do add value to what already is a noteworthy addition to the franchise. I further suspect that commentary and longer featurettes will be added to the inevitable super-duper holiday edition.

Office Christmas Party: Unrated: Blu-ray
The unrated version of Office Christmas Party, which kept two directors and six writers from the unemployment lines, is five minutes longer than the theatrical edition (also enclosed), and eight, if you include deleted scenes. It contains a bit more of everything that warranted the original’s R-rating, but nothing terribly salacious. Among the things that offended the MPAA ratings board were several scenes with partial nudity, crude sexual references throughout, a scene in which a man drinks eggnog from a phallic-shaped portion of an ice sculpture, coarse language, a penis sculpted by a 3D-printing machine and more shots of “alcohol/drugs/smoking” than in all three Porky’s movies combined. In Germany, Norway, Netherlands and Sweden, however, anyone over the age of 12 was allowed entrance to the multiplex showing Office Christmas Party. Here, of course, kids under 17 would be required to drag along a parent or guardian or simply buy tickets for the PG-13 screening next-door. To be fair, though, most parents probably would agree with the MPAA on this one, especially in its unrated iteration. (Based on Office Christmas Party and Bad Santa 2, some impressionable youngsters might come to believe that holiday parties in Chicago really are this outrageous and degrading, and pray someday they get a job there, too.) All snarkiness aside, though, “OCP” is probably as good as things are going to get in the out-of-control-party subgenre, at least until someone dramatizes what goes on at a state dinner at Mar-a-Lago, with Bill Murray playing President Trump. The filmmakers were allotted a generous $45-million production money, most of which probably went to secure a cast of talented comic actors.

The setting is Chicago’s Zenodek company, a failing tech interest that takes up two floors in a Loop hi-rise. The office is run by Josh Parker (Jason Bateman) and party-hardy figurehead Clay Vanstone (T.J. Miller), who inherited the company from his fun-loving dad. His uptight sister, Carol Vanstone (Jennifer Aniston), was made CEO of the international corporation and has ordered Josh and Clay to spend the days leading up to Christmas, downsizing the Chicago office. She also demands that the annual holiday party be cancelled, along with bonuses, which Clay is loath to do. They might be able to save the company, but only if they can convince a major client, Walter Davis (Courtney B. Vance), to send millions of dollars in business their way. Where better than at an orgy, where everyone will be on their worst behavior? Josh’s cohort, Tracey Hughes (Olivia Munn), has committed herself to sealing the deal, but it isn’t until Walter accidentally inhales a kilo of cocaine, mistakenly dumped in the snow-making machine, that the skids are sufficiently greased. Even so, when Carol’s flight is canceled at a snowbound O’Hare, she could still ruin everyone’s plans and holiday cheer. This includes an emergency run to a pimps-’n’-hos soiree, just down the street. Mayhem, of course, ensues. Directors Josh Gordon and Will Speck benefit from a supporting cast of funny actors: Kate McKinnon and Vanessa Bayer (“SNL”), Jillian Bell (“Workaholics”), Rob Corddry (“Ballers), Randall Park and Sam Richardson (“Veep”), Jamie Chung (“Gotham”), Da’Vine Joy Randolph (“This Is Us”), Andrew Leeds (“Bones”) and Jimmy Butler, of the Chicago Bulls. The Blu-ray adds commentary with the directors (on the theatrical disc); the background featurette, “Throwing an Office Christmas Party”; outtakes and alternate lines from various scenes; deleted scenes, not included in the extended version; and an alternate ending.

Three: Blu-ray
The Legend of Bruce Lee: Volume Two
Even by current standards, Johnnie To’s latest crime thriller, Three, is a departure from the norm. Set almost entirely inside the intensive-care unit of a bustling Hong Kong hospital, it pits a trio of completely different professionals against each other. Their paths cross in the emergency room after a desperate criminal is brought in with a bullet lodged in his head. The patient, Shun (Wallace Chung), shot himself to avoid being taken directly to jail after a blown heist. He knew he would be rushed to the hospital and given sanctuary until his gang was able to hear about his arrest and rescue him. Awaiting him is the headstrong surgeon Dr. Tong Qian (Zhao Wei), whose tireless pursuit of perfection has begun to backfire on her. She wants to remove the slug as soon as possible, but Shun violently resists her efforts. Waiting for Shun to be released is Chief Inspector Ken (Louis Koo), a dogged cop who sometimes ignores regulations to secure a conviction. The criminal has given the doctor a phone number to call, but Ken has forbidden her from doing so, in fear of a bloody escape attempt. As these three bump heads, everyone else is required to act as if nothing unusual is going on around them. It precipitates some unlikely interaction between bed-ridden patients, nurses and doctors on their rounds. The director compresses six hours of time into 90 tension-filled minutes, with a stunning slow-motion climax that Sam Peckinpah might have envied. Three works best as a diversion, akin to a parlor trick, as To makes us wait for the ending we all know is coming, but surprises us with its ferocity. The Blu-ray adds featurettes, “Making-Of: Master Director Johnnie To” and “Three Complex Characters.”

In the 40-plus years since the untimely death of Bruce Lee, filmmakers far and wide have stood in line to create biopics that have attempted to interpret/exploit his legacy. Most of them have distorted the facts to suit the tastes and gullibility of their audience. Others were made according the stipulations imposed by family members. It wasn’t until 1993, when Rob Cohen’s Dragon: The Bruce Lee Story became the first to acknowledge the influence of Wing Chun master Ip Man, that the real Bruce Lee saga began to emerge. Kar Wai Wong’s The Grandmaster and Donnie Yen’s Ip Man series – a new one arrives next year, we’re told – gave serious fans of martial arts a reason to cheer. Produced by China Central Television and exec-produced by daughter Shannon Lee, “The Legend of Bruce Lee” played out in 50 episodes on the CCTV network and was syndicated around the world. It starred Hong Kong actor Danny Chan and American actress Michelle Lang as Lee’s wife, Linda Lee Cadwell. Lionsgate compressed the series into a 183-minute straight-to-DVD film that satisfied almost no one. Released on November 1, 2016, the first volume of Well Go USA’s “Legend of Bruce Lee” times in at 451 minutes, while Volume Two covers the 480-minutes of Episodes 11-20. This one opens with Lee suffering a humiliating defeat at the hands of an older master and his determination to combine disciplines to create a new system and school, based in Seattle. Lang’s part expands as Lee suffers a serious back injury – a rival fighter assaults him with a log … true story — and she devotes herself to his recovery. Because the series was designed to appeal primarily to the vast Chinese audience, it isn’t surprising that the overtly melodramatic and mythic elements dominate the narrative. Too often, the lame English dubbing – curiously, the non-Asian actors are made to sound like characters in an anime — interferes with the narrative flow. The fighting and training scenes are good enough to keep hard-cord fans interested, though.

The Story of Sin: Special Edition: Blu-ray
Property Is No Longer a Theft: Special Edition: Blu-ray
In revealing his list of the ten-best animated films of all time, Terry Gilliam described Walerian Borowczyk as “a twisted man whose films were infused with a unique cruelty and weirdness.” I’m sure he meant that as a compliment. His obituary in the New York Times opened with, “Walerian Borowczyk (was) an internationally known Surrealist filmmaker, described variously by critics as a genius, a pornographer and a genius who also happened to be a pornographer.” The Polish-born Borowczyk, who also spent much of his career in France, was all of that and, as we’ve begun to learn, a whole lot more. In 2015, Arrow Video released brilliantly restored Blu-ray editions of Immoral Tales, The Beast and The Strange Case of Dr. Jekyll and Miss Osbourne, three of his most notorious films, all packed with illuminating bonus material. Later this month, Olive Films is sending out “Walerian Borowczyk: Short Films,” Blanche, Goto Isle of Love and Theatre of Mr. & Mrs. Kabal. Apart from being a sexual provocateur, Borowczyk’s features are distinguished by their exquisite period look, attention to details and integration of classical music into situations one might think wouldn’t support it. The Story of Sin was released in France in 1975, the same year as The Beast opened in Poland. While the latter remains one of the cinema’s more outrageous re-conceptualizations of the “La Belle et la Bête” fantasy, Story of Sin is a thoughtful and beautifully constructed adaptation of Stefan Żeromski’s 1908 novel about a young woman’s picaresque quest to reconnect with the man who took her virginity and disappeared. As a boarder in the home of Ewa Pobratynska (Grazyna Dlugolecka), Lukasz Niepolomski (Jerzy Zelnik) promised to divorce his wife and make a proper lady of her. After being refused a divorce in Catholic Poland, Lukasz travels to Rome, ostensibly to seek an annulment, leaving Ewa behind to struggle making ends after being kicked out of her home. In Warsaw, Ewa is approached by friends and wealthy acquaintances of Lukasz, who provide her with information on his whereabouts and enough money to tempt her to follow them around Europe in search of him.

Finally, while still professing her love for Lukasz, who’s a bit of a conman, Ewa succumbs to life in the Victorian Era fast lane. Lessons are learned and lives are ruined. Borowczyk’s gift for period staging makes the journey – from sumptuous spas and resorts, to sordid brothels – a visual treat. As Ewa, the stunning Dlugolecka is required to spend much of her time in the nude, although almost all of it is presented in ways that cover her nether regions. Lovers of turn-of-the-century erotica surely will find much here to savor. In addition to a recent interview with the delightfully candid actress, the crisply restored Arrow edition offers a great deal of evidence to substantiate Gilliam’s admiration for Borowczyk’s animated films, nearly a dozen of which are included here. They’re wonderful. Also included are an introduction by poster designer Andrzej Klimowski; featurettes on Borowczyk’s career in Poland and innovative use of classical music; a reversible sleeve, with original and newly commissioned artwork by Klimowski; and, in the first pressing, a fully illustrated collector’s booklet, featuring new and archival writing, including an exclusive interview with the producer of Story of Sin, director Stanislaw Rozewicz, a text by art historian and one-time Borowczyk collaborator, Szymon Bojko, and excerpts from Borowczyk s memoirs, presented in English for the first time.

The inelegantly phrased title of co-writer/director Elio Petri’s Property Is No Longer a Theft can be traced to a slogan coined by French anarchist Pierre-Joseph Proudhon in his 1840 book, “What is Property? Or, an Inquiry into the Principle of Right and of Government.” As a onetime committed Communist Party member – he quit in 1956, after the suppression of the Hungarian uprising – Petri would have been aware of the “property is theft” concept, which even was questioned by Karl Marx and German philosopher Max Stirner. Here, most of thieving is done in reaction to those capitalists who would argue that property is a gift, handed down by God himself. It’s a dark comedy, informed by giallo and radical politics of 1970s Italy. “Theft” is the final entry in Petri’s “Trilogy of Neurosis,” which also included the Oscar-winning Investigation of a Citizen Above Suspicion and Lulu the Tool (a.k.a., “The Working Class Goes to Heaven”). The former tackled the corrupting nature of power, while the latter questions where a worker fits in a world in which he can’t even trust his trade union. Here, Total (Flavio Bucci) is a low-level bank clerk who’s allergic to money, even though it’s his job to handle it every day. His father raised him to believe that property was to be respected, if not worshipped. His mind is changed when he is refused a loan request, moments after a dishonest businessman blackmails his boss into giving him an exorbitant loan.

The customer, known only as the Butcher (Ugo Tognazzi), endears himself to bank employees by handing out packages of prime cuts of beef. If he pulls his money out of the bank, the boss knows it could ruin him. That kind of arrogance makes the Butcher the perfect target for Total’s newly invigorated anti-capitalism. After quitting his job, Total devotes himself to tormenting the Butcher, stealing his possessions one-by-one, starting with the man’s meat cleaver and mistress (Daria Nicolodi), who bears an uncanny resemblance to Morticia Addams. Eventually, the former clerk begins stealing from thieves, who go about their business without the benefit of a political agenda. (Total only steals property, not money.) “Theft” is enhanced by some hallucinogenic visuals and a complementary score by Ennio Morricone. The nice thing is that viewers need not be politically left of Bernie Sanders to get a kick out of it. The newly restored Blu-ray adds fresh interviews with Bucci, producer Claudio Mancini and make-up artist Pierantonio Mecacci; a reversible sleeve, featuring original and newly commissioned artwork by Nathanael Marsh; and, with the first pressing, an illustrated booklet containing new writing on the film by Camilla Zamboni.

Youth in Oregon
It’s difficult to imagine a comedic premise – dark or light – more challenging than the one that informs Joel David Moore and writer Andrew Eisen’s Youth in Oregon. In it, Billy Crudup plays Brian Gleason, the son-in-law of 80-year-old Raymond Engersol (Frank Langella), who insists upon traveling from New York to Oregon to take advantage of the state’s Death with Dignity Act. Raymond doesn’t look particularly ill, but he’s already undergone one excruciating operation on his heart and doesn’t want to go under the knife again, even if the surgery could delay an inevitable second heart attack. Tellingly, he breaks the news to his incredulous family on his birthday. Raymond’s wife, Estelle (Mary Kay Place), wants to tag along, if only to help Brian try to talk him out of going through with the euthanasia. Brian’s wife (Christina Applegate) is unable to make the trip, because their daughter (Nicola Peltz) is experiencing boyfriend problems and leaving her alone is out of the question. Estelle plans to break the tedium by remaining high or unconscious on pills and booze. No sooner does Brian put the SUV in gear than Raymond puts on his favorite CD of bird songs. Already, viewers know that they’re in for a long ride, because the codger isn’t listening to their arguments – he’s already done all the necessary homework – and he’s intent on making amends with his estranged gay son (Josh Lucas) along the way. Brian also decides, while they’re in the neighborhood, to swing northward to Montana to visit his own college-age son, who informs them of his decision to drop out of school. He thinks that grandpa is doing the admirable thing and shouldn’t be talked out of it. There’s humor here, folks, but it’s the kind that sneaks up on you. The punch to the heart comes at the end, but not in the way we’ve been led to believe it will arrive. Needless to say, Youth in Oregon isn’t for everyone. As usual, Langella is terrific as a frequently unlikeable character in a difficult situation for himself, his family and the audience.

We Don’t Belong Here
If Peer Pedersen’s debut drama We Don’t Belong Here somehow landed on a double-bill with Sidney Lumet’s adaptation of Eugene O’Neill’s Long Day’s Journey Into Night, management might consider handing out samples of Prozac and Zoloft with every bag of popcorn … if not complimentary whiskey and morphine. Then, at least, viewers could be on the same wavelength as the desperate characters in both movies. This isn’t to say that We Don’t Belong Here deserves to be mentioned in the same breath as the O’Neill classic, just that you wouldn’t want to see it after being fired from your job or dumped by a lover. As usual, Catherine Keener is extremely convincing as the tightly wound matriarch of a very messed up family, living in a posh suburb of Boston. Also good is the late Anton Yelchin – in one of his final performances – as Nancy Green’s only son, Max, a recently institutionalized drug addict and survivor of a suicide attempt. His sisters Elisa, Lily and Madeline (Riley Keough, Kaitlyn Dever, Annie Starke) may not be as fragile as Max, but they also qualify as damaged goods. While her kids tread on wafer-thin ice, Nancy attempts to hold her shit together long enough to make it through a party for high-society hens at her home. Good luck on that one, mom. The cast also includes Maya Rudolph, as Nancy’s BFF and secret lover; Molly Shannon, Cary Elwes, Justin Chatwin and Michelle Hurd, as various dealers, enablers, shrinks and other unstable adults. Everything that could possibly go wrong, does. Trivia fanatics should note that Annie Stark is the daughter of actress Glenn Close and producer John H. Starke; Riley Keough is Elvis’ granddaughter; and Rudolph’s mother was singer Minnie Ripperton.

Actor Martinez
In the world of independent filmmaking, there are pictures that look unpolished because budgets were tight and the production team lacked the experience and/or equipment to slicken it to studio standards. And, lots of us like them that way. There are other indie films that push the boundaries of the experimental envelope and are less concerned with audience acceptance than that of their peers. Depending on the eyes of the beholder, they can either be wonderful or horrible. Mike Ott and Nathan Silver’s latest brainteaser, Actor Martinez, is exactly the kind of movie that finds lots of traction at festivals, but struggles to be seen and reviewed outside of them. Depending on which press release you believe, the filmmakers went to Denver to find an aspiring actor around whom they could build a faux documentary or they were hired by aspiring actor and full-time computer tech Arthur Martinez to collaborate on a film that would showcase his skills. Does it matter? Yes and no. At first glance, it’s the former. That’s because, at first glance, it looks like a mockumentary, with delusional characters who might have been recruited from a Salvation Army superstore. While articulate and dedicated to his craft, Martinez looks as if he could find plenty of work as an extra in a movie set in a factory or as a member of the star’s bowling team. That isn’t intended as an insult, just an observation. A world-class know-it-all, Martinez is allowed an inordinate amount of time arguing with the directors. When they decide to spike the action by bringing in a working actress (Lindsay Burdge), who was chosen because she looks like Martinez’ ex-wife, things really go haywire. Actor Martinez is very weird and, if intentional, borderline cruel. That ambiguity probably is what endeared it to festival audiences and a goodly number of critics. The DVD adds the short film, “Riot”; festival Q&A panels at the Denver and Tribeca Film Festivals; and deleted scenes. For the record, Martinez has since appeared in four short films.

Cooking at the World’s End
For gourmands who’ve graduated to the next level – planning vacations according to star ratings in the Michelin Guide — Cooking at the World’s End should qualify as a must-see. There are enough great restaurants in Spain’s easy-to-get-to locations to keep visitors satiated for year. Getting to Galicia, on the northwestern coast of the Iberian Peninsula, requires the kind of energy many non-European travelers could put to good use eating in great restaurants in Barcelona, Madrid, Valencia and the nearby Basque country, where four of the recently announced top-50 restaurants in the world are located. (Catalonia also had two winners.) Alberto Baamonde Bello’s documentary describes what began to happen when, in 2003, nine young Galician chefs combined their talents and knowledge to transform the cuisine of their region. Along with a new generation of producers and farmers, the Grupo Nove developed a theory of gastronomy grounded in traditions, attached to the land and the product, using radically new cooking techniques. Today, Grupo Nove is composed of 20 chefs and in a short period of time, has accounted for 8 Michelin stars, 19 Soles Repsols awards and international recognition. Among the people interviewed here are Pepe Solla, Xosé Cannas, Yayo Daporta, Beatriz Sotelo and Javier Olleros.

Delphine Lehericey’s sexually charged coming-of-age drama, Puppylove, has not, as far as I know, been shown in theaters in the U.S. It’s been exhibited at several prestigious festivals in Europe and been considered, at least, for awards there. It deals with situations not uncommon in Hollywood and indie films, but rarely depicted with the same visual integrity. Until Film Movement’s release of the DVD edition of the 2013 release, it’s likely that distributors didn’t see any upside in courting the same kind of controversy – however, marketable – that greeted such pictures as Lolita (both versions), Baby Doll, Pretty Baby and Blue Lagoon (both with Brooke Shields), The Crush, Birth, American Beauty, Hounddog and Fat Girl. In all of these films, underage actresses, their body doubles or characters were either seduced or compromised by older men. That taboo was reversed in the 1980s in such coming-of-age comedies as Class, My Tutor, Private Lessons, In the Mood and They’re Playing with Fire. Because statutory rape isn’t considered laughing matter or particularly romantic in most places outside California and France, standards were imposed on the industry here forbidding nude scenes in which underage actors are involved or present during production; depictions of rape or sexual-related violence, without the presence of parents and child-labor reps during the shoot; and use of adult body doubles in scenes involving underage characters in sexual situations. Even the porn industry has conformed with such laws, going so far as to display disclaimers and addresses of its records keepers. The studios will push the limits of the laws on occasion, but only sparingly and on the advice of counsel.

In Puppylove, Diane (Solène Rigot) is a 14-year-old loner, who juggles looking after her little brother, Marc, with a turbulent relationship with her single father, Christian (Vincent Perez). She prefers to dress conservatively and shuns makeup. Her polar opposite is Julia (Audrey Bastien), a newcomer to Diane’s school and neighborhood. She exudes independence, spontaneity and an adventurous spirit everything that Diane seems to be missing. They form a somewhat uneasy mentor/student relationship, based on a shared interest in the piano, substantiating each other’s alibis, pop music and dancing. While Diane is overtly hostile to her father’s advice and girlfriends, Julia appears to have set her sights on seducing him. Again, hardly an unusual setup in mainstream movies. The closer the girls become, the more willing Diane is to experiment with her inhibitions. We realize how dangerous this might be when she responds to the mostly innocent, if belittling harassment from male classmates by strolling into the boys’ locker room with only a towel to protect her modesty. It ceases to be amusing when she drops the towel and allows herself to be ogled by the startled adolescents. Lehericey ratchets up the sexual tension when, on separate occasions, the girls convince their parents to bring them along on weekend retreats. If we were experiencing Puppylove first as a novel, the depictions wouldn’t be nearly as upsetting. On the screen, however, the nudity alone is enough to give most viewers pause. It caused me to check out the ages of the actresses – not included in their resumes – if for no other reason than to ease my own misgivings about staying with the movie. (Both were in their late-teens or early-20s at the time of production.)  That said, I came away from the movie feeling that the sexual intimacy was treated honestly, as was the girls’ behavior. The men’s willingness to suspend their disbelief over their ages is never in question, either. (No obvious references to the continuing Roman Polanski saga were necessary.) The unexpected ending also worked. Francophile viewers should find plenty here to enjoy, but only if they’re not easily shocked.

Bob Dylan: In His Own Words
It’s only taken five months for Bob Dylan to make his way to Stockholm, where he finally received his Nobel Award in literature. He was in the neighborhood at the time, so, he must have figured, why not? It was a closed ceremony, as opposed to the one in which Patti Smith stood in for him, leaving the gathered media at a loss for his words. The one juicy detail revealed, by a photographer with a long lens, was that he arrived wearing a black hoodie and brown boots. Even at his most loquacious, the Bard of the Mesabi Iron Range has confounded reporters attempting to get more than a handful of words out of him, one or two of which might reveal something about his opinions on extemporaneous poetry to why he began to wear mime makeup on the Rolling Thunder tour. What you hear is what you get. It explains why I.V. Media’s Bob Dylan: In His Own Words – despite its many technical imperfections – will be must-viewing in the homes of Dylanologists. It includes 100 minutes of filmed interviews – some “rare,” others not — with Dylan, primarily when he was on the road outside the U.S. and probably had nothing better to do. Although never completely forthcoming, he gives them the benefit of answers that probably pleased their editors, anyway. And, he does so without appearing hostile, superior or purposefully ambiguous. At one point he even takes the time to sketch a portrait of the reporter interviewing him, and it’s quite good. The downside comes in the producers’ lack of concern over the viewers’ inability to cut throw background noise, the need for subtitles and identification of names and places. Most of them took place during the 1970-80s, but also included are the excellent Ed Bradley interview for “60 Minutes” and his bizarre acceptance speech at the Grammys. As usual, beginners probably will wonder what all the fuss was about.

Tank 432: Blu-ray
Veteran UK “camera operator” Nick Gillespie has chosen for his debut as writer/director a claustrophobic thriller, in which a small group British mercenaries, their hooded prisoners and a victim of gas poisoning are attacked by mysterious forces represented by a figure in the distance, wearing a gas mask. After taking refuge inside an abandoned M41Walker Bulldog tank, left standing in a field overlooking a lovely English valley, they discover to their dismay that the door is jammed and all but one wounded comrade are stuck inside the cramped, immobile vehicle. While Gillespie plays with themes of isolation, paranoia and combat insanity – the wounded soldier (Michael Smiley) taunts the tank as if it were a bull in a plaza de toros in Spain – viewers may stop caring about their fate. Tank 432 (a.k.a., “Belly of the Bulldog”) only begins to pick up speed when one of the men inside manages to hot wire it and kick it into gear. The fact that Gillespie apprenticed under executive producer Ben Wheatley (Kill List, High-Rise) should lure fans of the pressure-cooker subgenre, especially for its unforgiving atmosphere and well-sustained mystery.

The first credit registered under the name of Zurich-born filmmaker Alain Gsponer on is a three-minute animated short, “Heidi,” that asked the musical question: Does the image of Switzerland as “Heidiland,” which so many Swiss have helped to spread to the far corners of the Earth, correspond to any kind of reality?” His latest release is a feature-length Heidi that’s far more traditional and almost two hours longer. It’s the most recent of about 20 filmed and televised versions of Johanna Spyri’s beloved 1881 children’s novel, with the most famous being the 1937 musical, directed by Allan Dwan and starring Shirley Temple and Jean Hersholt. Gsponer’s adaptation stars 10-year-old Anuk Steffen, alongside the great Swiss-born actor Bruno Ganz (Wings of Desire) and a very credible herd of goats. It was shot on location in the Alps, mainly in the region of Grisons, including Bergün and Rheinwald, and has been dubbed into English. And, yes, Heidi easily qualifies as fun for the whole family.

The Best of Tim Conway
PBS: Dead Reckoning: War, Crime and Justice from WWII to the War on Terror
PBS: The Talk: Race in America
Smithsonian: Sports Detectives: Season 1
This year marks the 50th anniversary of the start of “The Carol Burnett Show” on CBS. It feels as if the folks at Time Warner/WEA and, before that, Columbia House and Gunthy-Renker, have been anticipating the landmark occasion for most of the last 17 years. The highlights and seasonal compilations first were made available through direct-response infomercials and, now, through Internet and retail outlets. “The Best of Tim Conway” appears to be the first stand-alone collection dedicated to the gifted comic actor’s contributions to the show, which has been in syndication on various cable outlets for most of the last half-century. Most fans of the show probably think Conway and his trademark characters were there from Day One. In fact, he was only made a regular performer, as opposed to an occasional guest, in Season Nine. Although the material featuring Conway in this 153-minute disc is funny, there isn’t enough of it to justify the title and, for no good reason, there are too many times when Conway isn’t part of what’s being shown on screen. That caveat noted, the highlights include Conway’s “Oldest Man,” as the world’s slowest head of a racetrack pit crew; “The Virgin Prince, in which he’s a “swishbuckling” hero with an appetite for flies and destruction; Conway’s take on the Lone Ranger; the hilarious Conway/Korman sketches, “The Dentist” and “Man’s Best Friend”; and “Mr. Tudball,” who takes leave of his senses while showing compassion for his dimwitted secretary, Mrs. Wiggins. The DVD includes outtakes.

With this week’s news of the Syrian government’s complicity in the deaths of dozens of men, women and children in a gas attack makes PBS’ “Dead Reckoning: War, Crime and Justice from WWII to the War on Terror” essential viewing for anyone who cares about how wars are conducted and what constitutes a crime against humanity. Before the Allied victory in World War II, such questions were rhetorical, at best. The willingness of Japanese and German leaders to condone and encourage even the most hideous atrocities against non-combatants and prisoners-of-war forced the victorious governments to seek justice in the name of the victims of the Holocaust and other mass murders. Most of the worst offenders were rounded up and forced to face the music for crimes that hitherto had no names. Others, like Adolph Eichmann and Claus Barbie, found new homes in South America, protected by local authorities and comrades still in governmental positions in Germany. Barbie worked for the CIA while he was being hunted by French police and Nazi hunters. Our fear of communism allowed Japan’s royal family to escape prosecution for its complicity in the crimes committed by insanely loyal Japanese soldiers and officers. Atrocities committed by Soviet troops in Poland were ignored, because they were on the winning team. As time passed and genocides continued around the world, it became increasingly more difficult to bring the monsters to justice. The world’s superpowers could barely agree on what constituted genocide, let alone which of their proxies should pay for atrocities committed in their interests. The World Court has tried leaders of insurgent movements in Bosnia and Africa, while others have evaded justice. The big shots who should have been held responsible for the My Lai massacre in Vietnam were cleared, leaving platoon leader Lieutenant William Calley Jr. to take the heat, which amounted to serving only three and a half years under house arrest. The documentary inquiry begs the question as to whether Syrian President Bashar Assad will ever be arrested and tried for the gassing of civilians and other crimes in the country’s civil war. If “Dead Reckoning” doesn’t break your heart, nothing will. He’s more likely to end up in a condo in Moscow or Tehran than on trial at the Hague.

The Talk: Race in America” is a two-hour documentary about a subject that, even two years ago, was easily ignored by the mainstream media, politicians and law-enforcement officials. Complaints about police brutality were nothing new and neither were accusations of unjustified killings of minorities in police custody. In most cases, the police were given the benefit of the doubt by grand juries and investigative bodies within the departments. That all changed in the aftermath of the fatal shooting of 17-year-old Trayvon Martin by a lumpen auxiliary cop, George Zimmerman, who stood behind Florida’s stand-your-ground law and was acquitted of second-degree murder and manslaughter. The verdict was largely seen as business-as-usual in a state where such miscarriages of justice happen all the time. When similar shootings of unarmed suspects began to happen in Missouri, Baltimore, Cleveland, South Carolina, Washington and Los Angeles, trigger-happy cops no longer were able to hide behind their badges, spawning the “Black Live Matter” was born. Citizens armed with cellphone cameras captured any behavior they judged to be suspicious, police were forced to wear cameras as part of their uniforms and ride in patrol cars equipped with them, as well. The title, “The Talk: Race in America,” refers specifically to the increasingly common conversations that began taking place in homes and communities across the country, between parents of color and their children. Sons, especially, were advised about how to behave if they were ever stopped by the police in driving-while-black situations or while strolling through predominantly white neighborhood where paranoia runs deep. African-American and Hispanic celebrities related stories of their own about being stopped while driving within minutes of the homes, even in ritzy neighborhoods. Growing up in fear of the people entrusted with protecting all Americans is a heck of a civics lesson.

Also timely is the Smithsonian Channel’s “Sports Detectives,” which might have joined the search for Tom Brady’s Super Bowl jersey if the theft had happened a couple of years earlier than last February. The reason O.J. Simpson’s cooling his heels in a Nevada prison isn’t because he killed his wife and a friend who made the mistake of following her home that fateful night, but for attempting to recover memorabilia he claims was stolen from him. The documentary series reminds us that these incidents were anything but isolated and rare. Some of the most coveted and valuable treasures from history’s greatest games and players are missing or misidentified. In Season One, private investigator Kevin Barrows and sports reporter Lauren Gardner travel the country in search of Muhammad Ali’s missing Olympic gold medal, Jim Craig’s “Miracle on Ice” flag, Dale Earnhardt’s first race car, the saddle worn by Triple Crown-winner Secretariat, Wilt Chamberlain’s 100-point game ball, a bat used by Lou Gehrig and other valuable items.

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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