Author: Leo Racicot

December 22, 2017 / / Main Slate

By Leo Racicot

I never lose interest in the work of my favorite director, Alfred Hitchcock. His films hold up under repeated scrutiny. They feel as fresh on the fifteenth viewing as they do on the first. As I have written elsewhere, Hitchcock’s smaller efforts are superior to the greatest efforts of other directors. The might be said of Woody Allen’s work. Both directors became such masters of their craft that they could elevate even an apparently minor story to the realm of the sublime.

September 1, 2017 / / Main Slate

By Leo Racicot

Sally Potter’s 1992 gender-bending fantasia, Orlando, was way ahead of its time. Based on the novel of the same name by Virginia Woolf, it broke ground, as did Woolf’s story, that had remained pretty much untilled. As viewed now, in our modern age of pansexual, polymorphous relationships, a strong case can be made for how influential a film it was on world society and socio-cultural mores.

Tilda Swinton, the star of Potter’s proceedings, has spent a career skirting conventional mainstream projects, going instead for passion projects she felt were edgy, free of boundaries and caution, movies she was compelled to make for their importance rather than their box office draw. An ethereal type (like her contemporary, Cate Blanchett, she has a chalky white translucence, albino eyes, and firm, hard cheekbones), Swinton is capable of slipping as easily into a male character as she is a female one; she has an otherworldly, space alien androgyny that makes her convincing when playing the “Other,” whatever that “Other” a script calls for her to be. She is perfect as Orlando, an Elizabethan-era boy who, in the course of the story, transforms into a girl. And we accept her as a boy not because she sports any definite male characteristic or swagger, but rather because her looks transcend all genders. She embodies the belief put forth here that all love is genderless. The impish grin that widens her face at times seems free of category, an animal almost. She looks like many different animals all at once. A singular person encompassing all. From the very first scene, Potter’s camera is making love to Swinton, to you, seducing you to love Swinton. Her courtly male duds hide her female breasts, her comely lines. Her wavy hair, fixed in the style of Elizabethan boys, is both masculine and feminine. We are instantly made curious by the instant openness of what we see.

July 9, 2017 / / Main Slate

By Leo Racicot

From the very first jungle beats and howls, you are shaking, gyrating, moving to the instant explosions of sounds and rhythms. Director D.A. Pennebaker isn’t fooling around; he dunks your ears–and eyes–deep into the Monterey “happening” of 1967’s Summer of Love and happy you are to be there, whether again or for the first time.

Only a select few concert documentaries can lay claim to greatness: The Last Waltz, Gimme Shelter, Stop Making Sense, Don’t Look Back. Monterey Pop stands proudly alongside them.

May 9, 2017 / / Main Slate

By Leo Racicot

In the summer of 1968, our mother, recently widowed, treated my sister and me to a week at the beach. After a few days, needing some time to herself, she asked a woman she had struck up a friendship with at the hotel if she would watch us so she could see the new hit horror movie playing at the little cinema on the boardwalk. When she got back, she could hardly contain her excitement and delight; it was “one of the best movies,” she said. She went to bed and tossed and turned all night long. “What kind of a movie,” I thought, “does THAT to you?!”

The answer, of course, is Roman Polanski’s twisted masterpiece, “Rosemary’s Baby,” a movie that, for almost 50 years, has been scaring the daylights out of people. Based on the Ira Levin bestseller of the same name, “Rosemary’s Baby” hit theaters like a tidal wave. A surefire “blockbuster” back before that term ever existed, it had moviegoers lined up for blocks, dying to see what they had heard was the most terrifying movie since “Psycho.” And they did not come out disappointed. Like all well-crafted movies, “Rosemary’s Baby” survives the test of time and is as scary now as it was in 1968. Scarier, even, maybe because its spiritually shattering story stands in such sharp contrast to our present day pragmatism and shock-resistant, “who gives a damn? ” nonchalant society. The movie shakes people on every level and still sends shivers up the spine.

February 3, 2017 / / Main Slate

By Leo Racicot

Director Todd Haynes, so good at recreating the feel of certain eras in American culture, here in Carol, fully and beautifully realizes the 1950s, particularly the 1950s of the upper classes. The costumes, the nightclubs, the Manhattan house parties and restaurants, a fancy store’s toy department — all are stamped with Haynes’ magic eye for period flavor and detail. This becomes our setting for one of the most honest, deliberate love stories in recent memory. This is, in fact, the first movie I can recall that treats lesbians as flesh-and-blood human beings with human passions – absent from Carol are the shame and fear of the two schoolteachers in 1951’s The Children’s Hour, directed by William Wyler from the hit Lillian Hellman play, or the over-the-top histrionics (which, don’t get me wrong, I liked) of The Killing of Sister George (1968, directed by Robert Aldrich). Every character in Carol is an original, genuine, open. Everybody cares and cares deeply about the other, which makes the hurt, when hurt does come, all the more palpable, deep.

September 15, 2016 / / Main Slate

By Leo Racicot

The opening credits are silent, mirroring the acquiescence of those who stood by in shame, fear and sheer cowardice as millions of victims were hauled off to concentration camps by the Nazis. Jews, yes, but also political prisoners and gay men, those accused by The Third Reich of being denizens of society. Watching this scene, I was reminded of the saying, “What scream can ever be louder than silence?”

August 12, 2016 / / Main Slate

By Leo Racicot

Say what you will about the great movie moguls of Hollywood’s Golden Age (and sure, they were horrible men—cruel, ruthless taskmasters), they were also visionaries with a deep and a real passion for moviemaking. There was a lot of money to be made, true, but they didn’t need it; long after they had made their fortunes, they continued to crank out, with amazing speed and dexterity, picture after picture, a few of them clinkers but most of them wondrous entertainments, and a lot of them pure gems, classic tales of lovers and dreamers, gangsters and pirates, heroes and louts and schemers. Their creations continue to shine, now 60, 70, even 80 years later. In the 1940s, MGM Studios, helmed by the powerful Louis B. Mayer, delivered, time and time again, to the American culture glorious Technicolor dream fantasies to combat the drab, pedestrian, provincial struggles and tediums of a country weary of war, nearly brought to its knees by conflict and loss and by a megalomaniacal dictator hell-bent on eating the world alive.

May 3, 2016 / / Main Slate

by Leo Racicot

Camp in film is deliberate, exaggerated, often irreverent send-up of popular beliefs, opinions, entertainments, and sacred cows. There is intentional camp (the movies of Mae West come immediately to mind, as do those of Marlene Dietrich. Her BLONDE VENUS, THE BLUE ANGEL, SEVEN SINNERS, MOROCCO are film textbook lessons in how to cannonball gender, sex, music up into the stratosphere. Bette Midler’s stage shows fairly drip with it (Midler’s schtick is the epitome of campy, nasty fun). This brand of entertainment suggests there are alternatives to the staid ways in which we view our daily lives, our culture, and our habits. It forces us out of our comfort zones. Masters of camp (John Waters is a another brilliant example) have their finger on the pulse of what people don’t want to see or know to then show them exactly that, the result being that people end up loving and embracing what they thought of as taboo.

March 1, 2016 / / Main Slate

By Leo Racicot

Bette Midler is tiny; so tiny (5’1″) that surprise is what you feel seeing her in person. I have been blessed to watch her do her thing live many times in many different places and always come away on Cloud Nine thinking, “How does that great, big voice and all that tremendous energy come out of that little sprite?”  But Midler’s stature belies the power of her spirit. Oftentimes I have witnessed that spirit fireball out of a theater or arena to where it ascends and covers the place in a protective bubble of vitality and verve. In other words, no stadium, no opera house, no hall, however cavernous, can contain her infectious energy. I watched in awe one time when she was first staring out in her career, appear before what had to be, for her, a disappointing Symphony Hall crowd (the place was maybe a third full). That girl worked her tail off like you would not believe, strutting and camping, doing cartwheels, belting songs to the rafters, sending her now-trademark Hawaiian bolo balls into orbit, carrying on an absolute storm. You’d swear she was performing for a crowd of 18,000 at Madison Square Garden. Her energy and work ethic, her drive and desire to please are unearthly. No tiny, little sprite!

January 4, 2016 / / Main Slate

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by Leo Racicot

Off-screen wolf calls and eerie silhouetted palm trees assault us right-off-the-bat, usher us into a cemetery bathed in spookhouse shadow. A hideous, dead doll-faced monster comes to life and so do we, sit straight up in our seats until, presto, change-o, the great Brian De Palma fools us by revealing it’s only a horror movie set. Indeed! Then again, De Palma is known for throwing ice cold water in our unsuspecting faces. In movies like CARRIE, THE FURY, BLOW OUT, SCARFACE, the first MISSION IMPOSSIBLE and (my personal favorite), DRESSED TO KILL, his key signature—rapturous violence—hypnotizes with its ability to lure us down a sunlit street before hitting us over the head with the dark unknown waiting around every corner. Light aside dark, this is De Palma’s stock-in-trade for he, more than probably any other director I can think of, except maybe his hero, Alfred Hitchcock, poses the question, “How can we recognize the light unless there is something dark beside which it can shine”?