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There are still rooms unknown at the Morrison Hotel: Talking with Tom DiCillo about WHEN YOU'RE STRANGE - A FILM ABOUT THE DOORS

(Jim Morrison in his experimental film, HWY, from WHEN YOU'RE STRANGE.)

By Terry Keefe

(Currently appearing in this month's Venice Magazine.)

Many a visitor to Venice Beach has spent some time wondering the exact location where Jim Morrison and Ray Manzarek reportedly ran into each other in 1965, after having attended UCLA Film School together previously, and decided to form the Doors. The legend of the band needs no recounting here, not after a number of books, the 1991 Oliver Stone film, and endless television clip show assemblies, along with various live albums and re-releases of recordings. Which does raise the question of whether a 2010 documentary on the Doors fills any real need, at least that was the initial reaction from this Doors fan when hearing about director Tom DiCillo’s When You’re Strange - A Film About the Doors.

Then, Morrison appeared on screen in the DiCillo documentary, in pristine, previously unreleased color 35 mm footage, bearded, and driving in the desert, as part of an experimental film he shot on his own in 1969, entitled “HWY.” There were, indeed, a few things still unknown and worth exploring in the story of these four American lads who shook the world, and “HWY” was one of them, but When You’re Strange also contains behind-the-scenes footage rarely seen by anyone outside of the band and their inner circle, and it is revelatory. Of particular note is extensive film from a concert in Long Island where Morrison wanders out amongst the fans before the show, without any entourage or security, and engages them in conversation. Later on, he is seen backstage sitting next to, and speaking with, a young woman who has been hit by a chair during the concert, and who has blood coming down her head. In these verite encounters, more about the real Morrison is revealed than anything I've seen before. He’s friendly, childlike at times, but with a reserve, as if he is also studying his fans and trying to understand exactly what his relation to them is, and can be. It was something that he struggled with until the end of his life, culminating most famously in the 1969 Miami concert where he was arrested for supposedly exposing himself after a long rant in which he seems to be attempting to work the audience into a communal experience beyond their repeated shouts for “Light My Fire.” Although the audio from the Miami concert has been available to the public for some time, DiCillo adds a mixture of photographs, deftly edited in quick cuts, to give the viewer the feeling of having been there, although in this case the Miami concert was never documented on motion picture film.

When You're Strange covers the entire career of the Doors, from formation, to the Paris death of Morrison at age 27. DiCillo eschews the traditional documentary usage of talking heads, and allows the story to be told by the behind-the-scenes footage in combination with narration by Johnny Depp. The filmmaker has taken some criticism for the lack of the talking heads, but I think the choice is what sets the film apart from practically every music documentary which has come before. When You're Strange is largely linear in construction, and certainly easy to follow, but its fly-on-the-wall style makes you feel as if you are there for at least glimpses of what the Doors' journey was really like. Have we been so brainwashed by reality television that we can't understand what is happening in a non-fiction film unless some person is sitting there telling us directly to the camera? Leave the talking heads to "The Biggest Loser."

(Filmmaker Tom DiCillo, above.)

The legend of Morrison obviously looms in the forefront of any Doors recounting, but where DiCillo also departs from much of what has come before is his emphasis on how this was a true band, and he gives credit where it is due. DiCillo spends time breaking down the Doors sound and analyzing the crucial components of Ray Manzarek’s haunting keyboards and the bass line he added with his left hand; John Densmore’s jazz and Brazilian-inspired drumming; and Robby Krieger’s guitar, at times sensual, dark, pounding, and also more complicated than almost any guitar work in popular music at the time.

This is Tom DiCillo’s first documentary. He previously directed the narrative features Living in Oblivion, The Real Blonde, Delirious, Box of Moonlight, Johnny Suede, and he began his career as the Director of Photography on Jim Jarmusch’s landmark indie Stranger Than Paradise. The Emmy and Academy Award-winning Dick Wolf produced When You’re Strange.

So, I watched the film twice last night. I thought you did a terrific job, and the newly unearthed footage was pretty mind-blowing.

Tom Dicillo: Thank you. There's a lot in it. You know, it's deceptively sort of fluid and, you know, I put a lot of work into making it kind of seamless. Because, listen, the footage is amazing, but it's not always connected, and so, sometimes to illustrate a point, I'll show a series of shots taken over three or four years, just to make one point. The footage, as incredible as it is, is a little bit like a collage, in a way, so I needed to try to smooth it out into something that was chronological. But not strictly chronological.

You have the actual history that you can always use as your spine, and then you have room to play a little bit in that.

Yeah, so that's why, I mean, I made the decision after seeing ten minutes of this footage, that the story, this film, should be made only using this original footage. No talking heads, no interviews with the band. Okay, they kind of flipped out about that, when they first heard that. You know, Ray Manzarek said to me, 'Well, how can you tell the story of the Doors, without hearing it from the Doors?' Then he saw a half hour of what I was cutting together, and he said, 'Ah...I see what you're up to.' In other words, begin the thing, and then don't let people out of it. Tell the story, show the beginning of the band, and then just stay in it -- so that it's as if it's a moment that keeps happening in time, and you never step back and refer to it. And it allows people to experience the Doors, as if they'd never seen them before. You know, it was a risky decision. It placed a tremendous amount of responsibility on the narration.

Yeah. And the editing, I’d imagine.

And the editing. I mean, but, yes, particularly the narration, which I wrote. You know, it went through a series of changes. It had to, because it had to find its form. And I will openly admit that the first form of it was a little too wordy. And I got some reactions to that, so, whatever, you know?

(Morrison mingling with the crowd before the Long Island concert from the film, above.)


Did you have Johnny Depp’s narration for the initial screenings, or was it later?

No. It was my voice, and that was only, you know, so we had something to edit to. Unfortunately, when we went to Sundance with the film, they hadn't arranged to get a narrator. And we had to use my voice because, you know, I'd be in the editing room, going, 'Okay, let's change that line,' and I would narrate the line so the editors could cut to it. Well, so we went to Sundance, and they said, 'Well, let's just use your voice, all right?' I think that was a mistake. I mean--

It puts a big target on you for the people that want to criticize it.

Yes. Yes. It does. And, you know, I took a lot of hits for that. And that's okay. I don't mind, you know -- but I had always had Johnny in mind. I knew, because the narration was so crucial, it needed to be delivered by somebody who you believe that they believe what they were saying. And how many narrators do you believe that? Most of the time it's just a voice, like frosting.

And this, I just have to tell you, Terry, you know, when Johnny came on board, he said, 'Here's the only thing I ask: I've seen the film, I've heard your narration. Let me just go off somewhere. I will do the words as you wrote them. Let me just -- I don't wanna, you know, discuss it. Let me just do it.' And I said, 'Fine.'

He started sending me the CDs of all these different takes. He did one line, you know, like, 'The 60s began with a shot.'? He did it five times, six times! He did the whole script that way. To, you know, finding different meanings, like an actor, different rhythms. And I went, 'Wow, this is incredible.'

Until I did some research on my own, my first question was going to be how you found an actor that looked so much like Jim Morrison for the “reenactments,” and how that footage was shot. But, it was actually Morrison in his film “HWY.” You chose not to point that out in the film, so it was a jolt to learn the truth.

When I discovered that footage, it was all cut into this huge mass of stuff that they sent me. No identification of it. I wasn't that finely-tuned of a Doors fan to know that Jim had made a movie, so I just saw this shot of Jim Morrison with a beard walking through the desert, and I said, 'Wow, this has got to go in the movie somewhere!' And I immediately said, 'Hoo, what if it's like this spirit of Morrison -- that's an idea, you know -- kind of wandering through the film,
searching for meaning?' As if, this idea that Morrison lives, because people really do hold onto that more than anything. Something about Morrison is still alive. I said, 'Let me touch that a little bit. Let me see what happens if there was a spirit, you know, and he wanders through the film.' And so my only thought was that people would go, 'Wow, look at this footage, it's amazing. Where did it come from?' as opposed to, 'That can't be Morrison.' We had someone walk out of a screening at Sundance, a distributor, someone that I really wanted to like the movie. And he just walked out after ten minutes. I chased him down the street. I said, 'What are you doing?' He said, 'I can't believe you used an actor in this movie!' First of all, it just insulted me, it insulted me. If anybody knows anything about my work, it's that it's honest, you know? And if I was to put a fuckin' actor in this movie, you know, I would've done it differently, you know? But it's not an actor.

One reason why people might assume the footage is re-created is that it looks so contemporary, and so clean.

It is. You know why? He shot it on 35mm in 1969, and a week and a half before we committed to printing the film, we found access to the original negative. And to this day I don't know how it happened, because we were looking for it for two years. Somebody made a deal. Somebody made a deal is all I can tell you. And so what we used to have was this bleached-out print that we had, you know, it still looked good, but it was bleached-out, it had, you know, cuts in it, and they said, Tom, here's the original negative. And I said, 'Let's just make it look as if he just shot it.' You know, some people said to me, 'Why didn't you screw it up? Why didn't you deteriorate it?' or something. I said, 'No!'

I learned a lot about Jim from watching your film, but I still found him impenetrable, to a degree.

Yes, I gave that some thought.

Along those lines, what you realize when you watch this footage is how young Jim was. I thought Val Kilmer did a great job playing Jim in the Oliver Stone film, but Kilmer was 10 years older than Jim was. Jim was a kid. So, was it possible that the impenetrability is because the persona underneath the façade was sort of undeveloped -

Listen, I think you've just really hit it. And, if anything, what I tried to do in this film was to suggest that, that nobody knew this guy. All we really know is the exterior of his behavior. The only person maybe who could've shed a little light on him was Pam [Courson, Morrison‘s longtime girlfriend]. She suggested he go see a psychiatrist, which he did, one session. Clearly, I mean, a tremendously complicated guy, with a lot of issues. But I tried to say, 'Listen, I'm going to show you as many sides of this guy that we know, at times, you know, a drunken oaf, at times, an amazingly brilliant performer and writer, and, you know, presence.’ At times a goofball, a little kid, the scene of him dancing in the desert with those boys [in ‘HWY], you know they stumbled upon these kids, and there he was dancing with them. And he looked like one of them, you know, there was no difference on his face, the look on his face and the look on their faces. He was committed to it. And one of the things I discovered with this movie was that I had to, finally, treat Jim as if he was a character I had written. And, in that sense, don't judge him, just portray him, don't romanticize him, just show him, but, by all means, do not judge him. And that enabled me to show the different sides of him. He still remains one of the most immutable figures, and people just project so much onto him! It's beyond belief. Some woman at the Berlin Film Festival stood up and just announced (German accent), 'So clearly Jim has a death wish.' I said, 'I'm sorry, I'm sorry. Did you know him? Did you talk to him? Were you in his brain?' I said, 'I don't think so. I think he was excessive, you know. He was conflicted, confused and driven by many different things, but he was very much alive.' And that's what I like about the film, it shows a Morrison that very few people have seen. And I'm going to be straight-up with you, there are some things in the film that, to non-Doors fans, they might find new and fascinating. Okay? To hard-core Doors fans, there is very little that is going to be revelatory in terms of facts about the Doors. However, even for the hard-core Doors fans, there's something in this film, there is a glimpse, there is an emotional intimacy that has never been presented before. And that's what I think has the real value. I mean, on the other hand, I can tell you that Robby came up to me, not too long ago, and just touched me on the shoulder, and he said, 'Hey, Tom, I just wanted to thank you.' I said, 'Why?' You know? He said, 'Well, for just letting people know that I wrote "Light My Fire."'

I appreciated that you made a point of mentioning that Jim had no musical training, and also showed how much the other members created. I’m a mild Doors fan myself, but I had forgotten how many songs Robby wrote. He’s still playing, and he’s remembered, but it's not quite to the degree I think he deserves to be remembered.

I totally agree with you. And I had to say that by all accounts, Jim Morrison always insisted that it was not Jim Morrison and the Doors, it was always the Doors. And he recognized that these guys, that it was a foursome. And, you know, at their very best, there was nothing like them.





(Jim and some kids dancing in the desert, from HWY.)


I didn’t know the story about Jim seriously quitting the band, Was that something that came out in conversation with the guys?

It came out, and, you know, I read Ray's book, John's book, I spoke to Robby, and spoke to a lot of people, and there was this conflict that was in him. And again, I will only say that, I speculated momentarily in the film. I didn't want to go down the road of speculation in this movie, which is why I left his death as simple as it was. Because, listen, it's not a story about Jim Morrison, it's
a story about the band. And I had to make some decisions how to keep it that way, because you could certainly make an entire film just about Jim. But, you know, he did quit. He had a conflict. And what I was saying is that...it's an amazingly complex idea, but let me see if I can explain it simply. I'm not the first one to say this, but, you know, having witnessed, and kind of been interested in the effects of fame on people…..the thing about Morrison was that, I think, he never expected to be famous, or, like, craved it. I just think he was born for it, and it happened to him, and he happened to be perfectly ready for it when it hit him.

For example, this persona he created, I think he did create it, and the thing is, he was so smart, almost like a businessman, or an ad company, but yet one of the most artistic ad companies that's ever existed, right? And he created the icon that was Jim Morrison. And that developed, as people sort of responded to it. You know what I'm saying? He didn't start out with it. It wasn't like -- I hope she'll forgive me -- Madonna, you know, coming out with this image, and then changing it when the mood changed. Elvis, whom he really idolized, was huge around the world. Why? Well, he was like this, he was very sexy, in his own way, right? But it was a '50s sort of sexuality, even though it was, you know, when you see some of the moves he did, they were pretty amazing. But Jim was sexy, right? However, he had something different than Elvis: Elvis never wrote a poem, as far as we know. Okay? Jagger was sexy, then he added a little bit of the dirt to it, a little bit of the danger. Well, Jim had that, but he also was amazingly intelligent, and artistic, he brought his art cred to what he was doing in a way that no performer ever had. And he had this sexual presence that was mind-blowing to people. Men loved him, women loved him, he was like, 'Hey, either one of you can have me,' you know what I mean? And that, I think, drew all of this attention. And when you get that, I think, there is no human instinct available to defend you against what that does to you. And I know or a fact that he struggled with wanting to be an artist. He wanted to be an artist more than anything. He felt that, either to be a poet, a writer, a filmmaker. He really wanted to be a filmmaker, and that part of him was always looking at the music as a kind of clowning around, you know. And that was the conflict for him, and he couldn't get away from it, because, sitting in a lonely apartment in Paris, and then remembering what it was like to have 5,000 people cheering you?

Right, right. You mentioned in the narration that the solitary writing life didn't have the same kick as being onstage.

It was an addiction, I mean, and how could it not be? You know, you get that kind of adulation from the world, and his was different, because he wasn’t a teeny-bopper. It was a whole different persona, one that people have emulated to this day.

Do you think that, going away from the death wish thing, maybe quitting the band was an attempt to stay alive?

Well, you know, Pam was encouraging him to. She wanted to start a family. There was that whole aspect: Settle down, have kids. But he didn't do that, either. You know, I think that...he had an issue with his father, that I touched upon. And I'm not sure what that did to him, but clearly there was some rift, something that he didn't get from his father, that affected him -- to the point that he literally turned his back on the entire family, which is extreme! But, you know, this is what he did. And then he left, he'd come back, he left, the drinking increased, and it just became this heavy thing.





It's astonishing when you realize who his father was. He was a Navy Admiral in Viet Nam.

He was commanding a division off the coast of Viet Nam. I personally related to that aspect of it.

Your father -

My dad's a retired United States Marine Colonel. And, I'm telling you, you know, I experienced firsthand what it is like to be told to do something, simply because someone has the authority to tell you to do it. And I, from a very early age, reacted against that kind of authority. You know: 'Do it.' 'Why?' 'Because I say so.' You know, fuck you. That's the way I feel, you know. You want to give me a reason for something, you want to explain something, I'll be more than happy to listen. But the artistic sensibility has to always -- I'm not saying that like, a, [sarcastic tone] 'Oh wow, they're artists!' -- I'm just saying, to be a creative person, you cannot have any authority. You have to be able to say, 'All right, I'm going to try that. I'm going to try it. I'm going to go over there. And I may look like a fool. I may fall on my face. But that's okay.' First of all, you don't want anybody else telling you, 'Don't do that,' and you don't want yourself saying, 'Don't do that.' You see what I mean? And I think Jim had a really hyper-exaggerated sense of that, to the degree that he kind of went, 'Nobody, nobody, nobody!' But I respect that, because look what they did. Their first album had two cuts on it that were over seven minutes long….at a time when the norm for a popular, successful song was two to three minutes. So clearly they weren't going, 'Oh, let's hit it big! Let's do something for the radio!' They just made their own music. As an independent filmmaker, I found a huge connection to that idea. And also, they didn't preach about it -- they just did it. You know, and I'm not trying to romanticize them, either. But the fact that they never sold out--

Yeah, you make a very direct point of that in the film.

- it means something to me. I had a tough time getting that line in the movie. A couple of the guys, they didn't want me to put it in. I said, 'What's wrong with that? What's wrong with it?' You know, the last line of the film is: ‘As of this date, none of their songs have been used in a car commercial.’

Oh, it's a great line.

It doesn't judge it, it just simply says it. But a couple of them said, 'Well, what's wrong with putting a song in a car commercial? You know, Dylan has done it, U2 did it.' And I said, 'True. All true. But you know, there's a reason why people that love the Doors, there's a reason why they love them. And I think that's one of them.'



Related Links:

The Website for the film is at whenyourestrangemovie.com

Tom DiCillo keeps a great filmmaking blog at http://www.tomdicillo.com/

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DVD Playhouse: April 2010

DVD PLAYHOUSE—APRIL 2010
By
Allen Gardner

RIDE WITH THE DEVIL (Criterion) Ang Lee’s revisionist take on the Civil War is awash in moral ambiguity, along with some stunning cinematography, production design, and fine performances. Set during the Kansas-Missouri border war, Tobey Maguire and Skeet Ulrich star as two friends who join up with the Confederate-sympathizing Bushwhackers, finding an odd ally in a former slave (Jeffrey Wright). While it’s fascinating to see America’s bloodiest conflict through the eyes of a foreigner, thereby allowing much of the previously mentioned ambiguity a certain latitude, the film never loses the bad taste it leaves for one simple reason: it asks us, the audience, to side with not just the Confederates, but some of the lowest trash that made up the dregs, and the fringes, of the movement. Big points for audacity, but snake eyes on the story itself. Singer Jewel is impressive in her film debut. Also available on Blu-ray disc, which really makes Frederick Elmes’ images pop. Bonuses: Director’s cut features 14 minutes of additional footage; Audio commentaries by Lee and producer-screenwriter James Schamus, Elmes, and other key crew; Interview with Wright. Widescreen. Dolby and DTS-HD 5.1 surround.
SUMMER HOURS (Criterion) Fine drama from French director Olivier Assayas, tells the story of three upper middle class siblings (Juliette Binoche, Charles Berling, Jeremie Renier) who must decide what to do with the country estate, and all its trappings, they’ve inherited from their late mother. Deliberately paced, and more reminiscent of the subtle, yet tightly-wound family dramas from Ingmar Bergman than most French films, Assayas directs the proceedings with a master’s hand. Also available on Blu-ray disc. Bonuses: Interview with Assayas; Making-of documentary; Inventory, another documentary that explores the film’s approach to art. Widescreen. Dolby and DTS-HD surround.
VIVRE SA VIE (Criterion) Jean-Luc Godard’s 1962 film marked a turning point in both his career and the direction of the French New Wave. Anna Karina stars as a young woman who aspires to be an actress, but instead falls into a downward spiral that finds her suffering through a life of prostitution, all portrayed through some of Godard’s most lyrical filmmaking. Touching, funny, and tragic, a real jewel of the period. Also available on Blu-ray disc. Bonuses: Commentary by film scholar Adrian Martin; Interview with film scholar Jean Narboni, conducted by historian Noel Simsolo; 1962 TV interview with Karina; Illustrated essay on “La Prostitution,” the book that inspired the film; Photo gallery; Trailer. Full screen. Dolby 1.0 mono.
GEORGIA O’KEEFE (Sony) Joan Allen gives one of the finest performances of her career as artist Georgia O’Keefe, whose life and love affair with legendary photographer Alfred Stieglitz (Jeremy Irons) is portrayed in this fine period drama. Fine support from Ed Begley, Jr., Kathleen Chalfont, and Tyne Daly. Sure-handed direction from veteran actor Bob Balaban. Widescreen. Dolby 5.1 surround.
DOLAN’S CADILLAC (NEM) Solid Stephen King adaptation about a vengeful husband (Wes Bentley) whose wife, the material witness in a mob trial, has been killed by the gangster (Christian Slater) she was scheduled to testify against. Hatching a brilliant, and cold-blooded, plan to give the killer his just desserts, the husband tracks his prey, learns his routines, and finally strikes. Lots of build-up with a great pay-off, although Stephen King’s short story has been liberally padded in this adaptation to fit into a 90 minute running time. Bonuses: Featurettes. Widescreen. Dolby 5.1 surround.
CRAZY ON THE INSIDE (Boxing Cat Films) Tim Allen plays an average guy recently paroled from prison after doing time for a crime he didn’t commit, taking the rap for his much more crazy, and dangerous, pal. In spite of his seeming normalcy, he just can’t quite adjust to life on the outside, particularly when his nutty family gets back into his life, making him wish he were back in the sanity of the big house. Tim Allen makes his directing debut with this forced effort that, in spite of a dream cast (Sigourney Weaver, Jeanne Tripplehorn, J.K. Simmons, Kelsey Grammer and Ray Liotta), never quite gels. Bonuses: Featurette; Gag reel. Also available on Blu-ray disc. Widescreen. Dolby and DTS 5.1 surround.
MAMMOTH (IFC Films) Gael Garcia Bernal and Michelle Williams star as Leo and Ellen, a stressed-out New York couple whose professional lives eat into their time with their 8 year-old daughter, who is primarily being raised by his Filipina nanny. When Leo is on a trip to Thailand, he unwittingly sets off a chain of events that will affect everyone in his life. Powerful, heartfelt drama, expertly performed. Bonuses: Trailer. Widescreen. Dolby 5.1 surround.
UNCERTAINTY (IFC Films) Joseph Gordon-Levitt and Lynn Collins star as a New York couple who finds their lives at a crossroads as they travel across the Brooklyn Bridge on July 4th, and toss a coin, creating two parallel stories: one a low-key domestic drama with the girl’s family in Brooklyn, the other a chase-thriller a la Hitchcock set in Manhattan when the two stumble upon a cell phone with sensitive info contained therein. Interesting exercise feels like a student film expanded to feature length, and like most student films, there are truly inspired moments mixed in with those that inspire groans. Worth a look for its good bits, and kudos to the filmmakers for their audacity and originality. Bonuses: Photo gallery; Audition footage; Script/scene comparison; TV spot; Trailer. Widescreen. Dolby 5.1 surround.
REEFER MADNESS 75th ANNIVERSARY ULTIMATE COLLECTOR’S EDITION (Walking Shadows) The classic anti-drug propaganda film from 1935 just keeps getting funnier with each passing year. This edition offers a beautifully-restored version of the film that “Tells the truth about marijuana parties!” and “Takes you through HELL!” as the ads promised back in the day. See fresh-scrubbed youngsters driven to fits of giggling, fondling, manic piano playing and, dare we say it, murder, after taking just a few hits off a seemingly-innocuous-looking joint. Produced, believe it or not, by the U.S. Government! Bonuses include over two hours of anti-pot, and not-so-anti-pot, shorts and cartoons, including The Weed of Death (1924), Betty Boop in Happy You and Merry Me (1936), The Pusher (1951), and more! Great fun. Full screen. Dolby 1.0 mono.
WAKE (E1 Entertainment) Quirky story of a lonely young woman (Bijou Phillips) who goes to strangers’ funerals to feel some connection with humanity. When a series of mix-ups finds her in possession of a recently-deceased woman’s engagement ring, she finds herself madly in love with the woman’s grieving fiancée (Ian Somerhalder). More than a bit of the classic Harold and Maude can be found in this slight, but likable comedy, which is saved by the skillful performances of its cast, including Danny Masterson and Jane Seymour. Bonuses: Commentary by director Ellie Kanner, writer/producer Lennox Wiseley and producers Hal Schwartz and Bill Shraga; Featurette. Widescreen. Dolby 5.1 surround.
FIVE MINUTES OF HEAVEN (IFC Films) Director Oliver Hirschbiegel’s thriller is inspired by true events which occurred in 1975 Northern Ireland, when a 17 year-old Protestant named Alistair Little assassinated a 19 year-old Catholic youth named Jim Griffin in his home, the murder witnessed by Griffin’s 11 year-old brother, Joe. Thirty years later Little (Liam Neeson) has been released from prison, a changed man, repentant for his sins, while Joe (James Nesbitt) remains traumatized and bitter. When local news decides to stage a live reconciliation between the two on a talk show, the situation blows up in everyone’s faces. The flashback scenes are so powerful, and beautifully capture the time and place, that the present day story pales in comparison, in spite of the formidable talents present, resulting in an overly-talky, and ultimately anti-climatic film. A mixed bag, not without its merits. Bonuses: Featurette, Trailer. Also available on Blu-ray disc. Widescreen. Dolby 5.1 surround.
8 FILMS TO DIE FOR Lionsgate releases more titles in its After Dark Horrorfest series, now in its fourth installment. KILL THEORY finds seven college students in a secluded vacation home, celebrating graduation, when they become trapped in a deadly game by a mysterious killer. Forced to kill each other by 6 A.M. the following morning, only one of them can remain alive. But if morning comes, and more than one is still breathing, everybody dies. Claustrophobic horror exercise is really nail-biting in parts, predictable in others. LAKE MUNGO tells the grisly tale of a teenage girl who, seemingly drowned accidentally in the local dam, is laid to rest by her grieving family, only to find their house plagued by a series of inexplicable events. When the family seeks the aid of a local psychic, he discovers that the girl was leading a dark, secret life, one that leads them back to the icy waters of Lake Mungo. Well-made, helped by its cinema-verite style. ZOMBIES OF MASS DESTRCUTION is a horror satire set in the conservative enclave of Port Gamble, Washington, which suddenly finds itself overrun by brain-eaters, with the clean-cut Republicans seemingly powerless to stop them. Only an Iranian college student suspected of being a terrorist and a gay businessman find the wherewithal to turn the tide against the undead and save the white man’s paradise. Quite funny, with a barbed, clever script by Ramon Isao and Kevin Hamedani. HIDDEN tells the story of KK, a young man who returns to his hometown to settle his estranged mother’s affairs after her death, only to uncover some deadly secrets that mom left behind for her only son. Some creepy, truly disturbing moments highlight this entry. THE GRAVES finds two sisters, on their last weekend of partying together before college, lost in a remote part of the Arizona desert, taking shelter in the abandoned mining town of Skull City. Only the girls discover, too late, that the town is far from abandoned, and there’s no escape. Decent little thriller, with nice turns from horror vets Amanda Wyss and Tony Todd. THE FINAL tells the story of high school outcast Dane, who assembles a group of fringe-dwellers to plot revenge for the years of humiliation they’ve suffered at the hands of their school’s “beautiful people,” setting up a night that will leave their tormentors scarred for life. Nifty revenge film, with echoes of Carrie and other “Revenge of the Nerds” horror pictures from years past. THE REEDS has a weekend boating trip turning into a terrifying ordeal for six twentysomething Londoners. After a freak accident on the water, the boat runs aground, and the group finds itself pursued by a gang of young punks and a mysterious hooded man. Not bad of its type, but derivative and really bloody/disgusting at times. Finally, DREAD follows film students Stephen (Jackson Rathbone) and Cheryl making a documentary about what people truly dread in life, unaware that their partner Quaid saw his parents murdered by an axe-wielding psycho as a child, and now wants others to experience the same demons that he faces. Produced by horror maestro Clive Barker, whose presence adds a bit of panache to the proceedings. Bonuses on all: Featurettes; Interviews with cast and crew; Deleted scenes; Trailers. Widescreen. Dolby 5.1 surround.
EX DRUMMER (Palisades Tartan) Grisly black comedy from Holland about a punk rock band that hires a well-known writer and local celebrity to be their drummer, only to have everything go, almost literally, straight to hell. Reminiscent somewhat of Trainspotting, but (yes) even darker, more twisted, and (much) more bloody. Not for all tastes, to be sure, but for those with strong constitutions, what a ride! Bonuses: Trailers; Featurette; 3 music videos. Widescreen. Dolby 5.1 surround.
TAXIDERMIA (E1 Entertainment) Almost indescribable feature from Hungary about three generations of men (an obese speed freak, a taxidermist who specializes in giant cats, and a man with…ahem, pyromaniacal privates). From the very twisted mind of filmmaker Gyorgy Palfi, who must be an Eastern European cousin to David Lynch and Terry Gilliam. Bonuses: Featurette. Widescreen. Dolby 2.0 mono.



DON’T TOUCH THAT DIAL! Acorn Media releases a new host of titles from across the Pond: MURDOCH MYSTERIES SET 2 is a sassy-smart Victorian-era whodunit that follows an intrepid Toronto police inspector (Yannick Bisson), who employs the latest scientific techniques to solve the city’s most brutal murders. Sort of a 19th century CSI, with a dash of Masterpiece Theater. 13 episodes on 4 discs. Bonuses: Featurettes; Photo gallery; Cast filmographies and biographies. Widescreen. Dolby 2.0 stereo. HOPE SPRINGS follows three female ex-cons (Alex Kingston, Annette Crosbie, Sian Reeves) who, armed with three million pounds stolen from one of their gangster husbands, lie low in the Scottish Highlands town of Hope Springs, planning their escape to Barbados, not realizing that this seemingly-innocuous hamlet harbors some dark secrets of its own. Great blend of comedy and thriller, with an expert cast. 8 episodes on 3 discs. Bonuses: Photo gallery; Bio of Kingston. Widescreen. Dolby 2.0 stereo. GEORGE GENTLY SERIES 2 stars veteran actor Martin Shaw ("The Professionals") as a former Scotland Yard sleuth now tracking murderers in Britain’s North Country in the 1960s. Great blend of policier, character study, and period drama. 4 episodes on 4 discs. Bonuses: Interviews with Shaw and co-star Lee Ingleby; Production notes; Historical facts about 1964. Widescreen. Dolby 2.0 stereo. THE GLORY BOYS/THE CONTRACT are two vintage (1984 and 1988) Cold War spy tales. Glory Boys stars Rod Steiger as an Israeli nuclear scientist who is the target of a joint IRA-PLO hit squad. Soon the hunters find themselves hunted by their very wily and resourceful prey. The Contract follows the exploits of a former covert op (Kevin McNally) called back into service to help the Soviets’ leading missile designer escape to the West. Tense thriller, well-made. Bonuses: Bios of cast and author Gerald Seymour. Full screen. Dolby 2.0 mono. WE’LL MEET AGAIN portrays culture clash in wartime Britain between the local residents of tiny Market Wetherby and the American servicemen ensconced at a nearby airbase. Susannah York stars in this terrific blend of romance, nostalgia and intrigue. 13 episodes on 4 discs. Full screen. Dolby 2.0 mono. MIDSOMER MURDERS SET 15 is a sort of British, rural version of "Law & Order," set in the tiny, picturesque villages of Midsomer Country. Inspired by the novels of Caroline Graham, John Nettles and Jason Hughes star as the detectives who sniff out the guilty culprits in some of the darkest crimes this side of Hannibal Lecter, all of which hide beneath an idyllic countryside exterior. 3 mysteries on 3 discs, plus a bonus disc containing a feature-length documentary about the series’ production. Widescreen. Dolby 2.0 stereo. E1 Entertainment releases THE ABBOTT AND COSTELLO SHOW, the complete series from 1952-53 featuring the veteran comedians at their zany best. Time Magazine cited the series as one of the 100 best shows of all-time, and it has been named by modern comic master Jerry Seinfeld as the inspiration for his own hit series. 9 disc set features all 52 episodes of the series, plus over three hours of bonus features, including “Hey Abbott!” 1978 TV special; Classic routine reel; Lou Costello home movies; Interviews with Chris and Paddy Costello; 1948 short film. Full screen. Dolby 1.0 mono. MPI releases LUCY CALLS THE PRESIDENT, Lucille Ball’s 1976 special in which she plays an Indiana housewife who phones the White House to discuss a housing project, then finds herself making last-minute preparations for the President to visit her house for dinner. Zany high jinks abound, of course, with fine support from Lucy veterans Vivian Vance, Gale Gordon, and even Ed McMahon. Bonuses: Lost production footage; Featurette. Full screen. Dolby 2.0 mono. THE HILLS, SEASON FIVE, PART TWO follows the gang after Heidi and Spencer’s wedding and the arrival of Kristin Cavallari back on the scene. Beautiful people everywhere along with lots of sudsy drama, and we do mean LOTS. 10 episodes on 2 discs. Bonuses: Featurettes; Deleted scenes; After show remixes. Widescreen. Dolby 2.0 stereo. A&E releases RITA ROCKS THE COMPLETE SEASON ONE, starring Nicole Sullivan as an overworked wife, mother, and former lead singer of a Bangles cover band who has traded in pseudo-rock n’ roll glory for suburbia and PTA meetings. Funny sit-com manages to be a cut above the norm, thanks to some sharp writing and a strong supporting cast. 20 episodes on 3 discs. Bonuses: Music video by Sullivan and cast members. Widescreen. Dolby 2.0 stereo. SHERI THE COMPLETE SEASON ONE stars Sherri Shepherd as a single mother who tries to juggle kid, job and her dream of becoming a standup comedian. Great support from Cosby Show vet Malcolm-Jamal Warner and a talent cast. 13 episodes on 2 discs. Bonuses: Webisodes. Widescreen. Dolby 2.0 stereo. Colin Firth and Jennifer Ehle star in a sumptuous BBC production of Jane Austen’s PRIDE & PREJUDICE. Set in Georgian England, the story of strong-willed romantic Elizabeth Bennet, who is determined to wed for love, and not money, unfolds against a magnificent backdrop that captures the time and place to near-perfection. 2 disc set. Bonuses: Featurettes. Widescreen. Dolby 2.0 stereo. 20th Century Fox/MGM releases STARGATE ATLANTIS THE COMPLETE SERIES , featuring all 5 seasons and 100 episodes on 26 discs in a magnificent boxed set. Story revolves around the city of Atlantis, built thousands of years ago by an evolved race known as the Ancients, and is now home base to an expedition team from Earth, who leap through the city’s Stargate to explore wondrous new galaxies and do battle with enemies who threaten the existence of Atlantis. Terrific sci-fi adventure owes more than a small debt to the original Star Trek, but when what sci-fi TV series doesn’t? Bonus disc includes two featurettes on the series’ history and production. Widescreen. Dolby 5.1 surround. ALLY MCBEAL, THE COMPLETE SECOND SEASON features all 23 episodes from the 1998-99 season on 6 discs, following the continued adventures of a quirky lawyer (Calista Flockhart) and her adventures in life and love. Fine support from Portia de Rossi, Lucy Liu, and Greg Germann). Widescreen. Dolby 2.0 surround.



BLU-RAY TITLES Criterion releases a BD version of Fritz Lang’s classic 1931 thriller M, starring Peter Lorre as a serial killer preying on children in pre-war Berlin. Viewed by most film scholars as the first serial killer thriller, as well as the model for all future police procedurals, Lang’s location shooting (and casting of real-life criminals in supporting roles) and attention to detail and authenticity give the film an eerie, fly-on-the-wall feel. Lorre’s whistling of “Peer Gynt” (actually it’s Lang doing the whistling, because Lorre didn’t know how) before he strikes is one of the most chilling devices ever used in a film. Beautifully restored to near-pristine quality, as befits its stature as a cinematic masterpiece. Bonuses: Commentary by German film scholars Anton Kaes and Eric Rentschler; The “lost” English-language version of M, from a nitrate print preserved by the BFI; Conversation with Fritz Lang, a film by William Friedkin; Claude Chabrol’s short M le Maudit, plus a conversation with Chabrol about Lang; Interview with Harold Nebenzal, son of M producer Seymour Nebenzal; Audio recording of lecture by M editor Paul Falkenberg; Documentary on the film’s production; Photo gallery. Full screen. Dolby 1.0 mono. Sony releases Barry Levinson’s THE NATURAL, starring Robert Redford as Roy Hobbs, a one-time baseball prodigy whose unlucky encounter with fate gave him a wound that nearly kept him out of the game forever, until as a middle-aged man, he gets one more shot in the big leagues. Terrific blend of magical realism and sports melodrama, boasting eye-popping cinematography from Caleb Deschanel, soaring musical score by Randy Newman, and a supporting cast that dreams are made of: Glenn Close, Robert Duvall, Robert Prosky, Kim Basinger, Wilford Brimley, Barbara Hershey, and Richard Farnsworth. Bonuses: Six featurettes. Widescreen. DTS-HD MA 5.1 surround. New Line/Warner Bros. releases Wes Craven’s 1984 horror classic A NIGHTMARE ON ELM STREET, about suburban teens who find their dreams haunted by the spirit of a deranged killer whom their families burnt to death years before. A true milestone in modern horror films, emphasizing psychological terror over gratuitous gore (although the gore is definitely there). Film debut for Johnny Depp. Robert Englund became an icon with his manic turn as the blade-fingered killer Freddy Krueger. Followed by countless (and completely inferior) sequels, imitations, and a soon-to-be-released remake, which will have a tough act to follow. Bonuses: Ready Freddy Focus Points—See alternate takes and learn filmmaking secrets by jumping to video highlights while watching the movie; Commentaries by Craven, cast and crew members; Alternate endings; 3 featurettes; Interactive trivia track. Widescreen. DTS-HD 7.1 surround and Dolby EX 1.0. Palm Pictures releases THE BASKETBALL DIARIES, the film adaptation of author/musician Jim Carroll’s autobiographical novel about his tumultuous adolescence in New York City as he juggled high school basketball stardom with teenage rebellion and hard drugs. Notable for being Leonardo DiCaprio’s “adult” acting debut, as well as that of Mark Wahlberg. Along with a fine supporting cast that includes Lorraine Bracco, Juliette Lewis, Bruno Kirby, Ernie Hudson, Michael Imperioli and James Madio, film boasts some powerful moments, but is undone by one fatal flaw: Carroll’s novel was set in the mid-60s, and the filmmakers try to set the same tone and story in modern times, which simply doesn’t work. Could have been a masterpiece, but instead of being all net, winds up a brick. Bonuses: Interviews with cast and crew; Interview with Carroll, along with poetry reading. Widescreen. DTS-HD 5.1 surround, PCM 2.0 stereo. 20th Century Fox/MGM releases COCOON, Ron Howard’s charming fantasy about aliens who plant life pods off the Florida coast, next to a retirement community, where its residents suddenly find themselves the recipients of a fountain of youth after plunging into the waters. Don Ameche jump-started his career again with an Oscar-winning turn as a sure-footed octogenarian, with fellow vets Hume Cronyn, Wilford Brimley, Jack Gilford, Maureen Stapelton, Jessica Tandy and Gwen Verdon all delivering equally impressive turns in their twilight years. On the younger side, Steve Guttenberg, Brian Dennehy and Tahnee Welch (daughter of Raquel) deliver, as well. Bonuses: Commentary by Howard; 5 featurettes; Trailers and TV spots. Widescreen. DTS-HD 5.1 surround. THE THOMAS CROWN AFFAIR is director John McTiernan’s 1999 reboot of the ’68 Steve McQueen classic, this time with Pierce Brosnan quite ably filling the shoes of the blue-blooded businessman who masterminds an art heist, all under the watchful, and lustful, eye of an insurance investigator (Renee Russo) who can’t decide whether to bust Crown, or bed him. One of the few cases where a remake is an improvement on its predecessor, which hasn’t aged well. Terrific combination of style, suspense, and some truly sexy scenes between the two leads. Good stuff. Bonuses: Commentary by McTiernan. Widescreen. Dolby and DTS-HD 5.1 surround.



DOCUMENTARY DAYS A&E releases THE ESSENTIAL GAMES OF THE DETROIT TIGERS, a 4 DVD set containing four historic Detroit Tigers games: The 1968 World Series game 5 vs. St. Louis, 1984 World Series game 5 vs. San Diego, Sept. 27, 1999 vs. Kansas City—the final game in Tiger Stadium; and the 2006 ALCS game vs. Oakland. Bonuses: Highlights from over 20 Tigers games from 1971-2007. Full screen. Dolby 2.0 stereo. Athena Learning releases TESTAMENT, a global search for the roots of the Bible. In this 3-disc, seven-part series, archeologist John Romer traces the roots of the world’s most influential book in light of archeological evidence that’s been discovered over the centuries. Join Romer as he visits dig sites in Jerusalem, Jericho, and many other ancient cities and locations, and marvel in the treasure trove of history that has been unveiled. Bonuses: 20-page viewer’s guide; Biographies of major figures in the development of the Bible; Web extras. Full screen. Dolby 2.0 mono. Acorn Media releases ON THE ROAD WITH CHARLES KURALT SET 2, featuring more episodes of the roving reporter’s adventures on the road in the United States, and some the very extraordinary “ordinary” Americans he meets and profiles. Originally debuted on a 1967 edition of The CBS Evening News with Walter Cronkite, Kuralt is an engaging and gregarious host over these 18 episodes that are featured on 3 discs. Bonuses: Featurettes; Kuralt bio. Full screen. Dolby 2.0 mono. Indiepix releases LOINS OF PUNJAB PRESENTS, a look at three days in the life of a small New Jersey town where five Indian-Americans and one Jewish Indiophile participate in a Bollywood-style signing contest sponsored by a pork billionaire. Yes, it is as bizarre and hilarious as it sounds! Bonuses: Commentary by director Manish Acharya; Featurettes; Interviews with cast and crew; Deleted scenes; Short films; Trailer; Music videos. Widescreen. Dolby 5.1 surround. MVD Visual releases three “Solos Jazz Sessions” titles, featuring unaccompanied performances by some of the brightest stars, and up-and-comers, in the jazz world: GONZALO RUBALCABA shows why he has become one of the most important Afro-Cuban jazz artists since his debut in the 1990s. ANDREW HILL was a groundbreaking composer and pianist, renowned for his spontaneity and lack of cliché, working to extend the techniques of bop and hard bop while many of his contemporaries abandoned them altogether. LEE KONITZ is one of the most revered alto sax players, specializing in cool tones and driven by an insatiable musical curiosity which has made him one of the most innovative musicians on the scene. All programs were originally broadcast on Bravo!Canada. All are widescreen. Dolby 2.0 stereo. Bravo Media releases THE REAL HOUSEWIVES OF NEW JERSEY SEASON 1, a look at the real-life wives of the Garden State, and their lavish lifestyles, some of whom would put Carmella Soprano to shame. The complete season one features everything from the girls’ wild weekend in Atlantic City to the infamous “table flip” episode. Bonuses: Featurettes; Reunion episodes; Lost footage; Season finale director’s cut; Quiz: Are you a Jersey girl? Widescreen. Dolby 2.0 stereo. Disinformation releases PLUNDER THE CRIME OF OUR TIME, a look by filmmaker Danny Schechter that examines how the current financial crisis was built on a foundation of criminal activity. Speaking with bankers, noted economists, insider experts, journalists including Paul Krugman, and many more, Schechter paints a grim portrait of how the crisis developed, and how it easily could have been avoided, if just a handful of people had been held accountable early in the process. Fascinating and nail-biting, much like All the President’s Men. Full screen. Dolby 2.0 mono. Finally, Discovery Channel releases MAN VS. WILD SEASON 4 with survivalist Bear Grylls tackling his own mortality in one extreme situation after another deep in the wilds of nature. 3 disc set contains 11 episodes set in divergent locals from rural Alabama, to North Africa, to China, and more. If you’re an adrenaline junkie, this one is for you! Bonuses: Extended scenes; Extra episode. Widescreen. Dolby 2.0 mono.



ANIMATION NATION Disney re-releases their hit THE GREAT MOUSE DETECTIVE in a digitally-remastered edition. Film is a rodent variation on the Sherlock Holmes character, here played as Basil of Baker Street, who, along with loyal sidekick Dawson, goes after diabolical Professor Ratigan when he kidnaps the city’s master toymaker. Clever humor for kids and adults alike along with eye-popping visuals makes this one of Disney’s better efforts of the 1980s (’86, to be precise). Bonuses: Games; Featurettes; Sing-alongs. Widescreen. Dolby 5.1 surround. 20th Century Fox releases AVLIN AND THE CHIPMUNKS THE SQUEAKQUEL, taking up where the last Alvin movie left off, featuring the chipmunk singing sensations Alvin, Simon and Theodore as they take a break from their singing careers to enroll in school, but soon meet their match in the beautiful and talented Chipettes. Cuteness abounds in this pleasant ditty, which is sure to please the little folks in your house. Available in a Blu-ray/DVD combo pack. Bonuses: Featurettes; Music videos; Song trivia; BD-LIVE features. Widescreen. Dolby and DTS-HD 5.1 surround. Warner Bros. releases BURT AND ERNIE'S GREAT ADVENTURES, featuring the legendary Sesame Street duo taking pre-schoolers on 13 exciting adventures, learning valuable skills such as friendship, cooperation and critical thinking skills. Think of it as a “greatest hits” from public television’s most revered team since MacNeil and Lehrer. Full screen. Dolby 2.0 mono. BERT & ERNIE’S WORD PLAY has the duo putting on a play, featuring some of our favorite words as the stars. Creative, involving educational storytelling, designed to help the little ones with their reading skills. Full screen. Dolby 2.0 mono. A&E/New Video release two new Scholastic Storybook Treasures titles: HE’S GOT THE WHOLE WORLD IN HIS HANDS…AND MORE STORIES TO CELEBRATE THE ENVIRONMENT, feature seven stories on one DVD which teach children about the value of ecology. Narrated by B.D Wong, Laila Ali, Chief Jake Swamp, and more. Features three bonus stories, as well. RUNAWAY RALPH, based on the book by Beverly Cleary, about a mouse who runs away from home, and befriends a young outcast at a summer camp. Features young stars-to-be like Fred Savage, Summer Phoenix, Sara Gilbert and Kellie Martin. Bonus story: Commander Toad in Space. Both are full screen, Dolby 2.0 mono. Lionsgate releases JIM HENSON’S THE SONG OF THE CLOUDED FOREST AND OTHER EARTH STORIES, four stories featuring Jim Henson’s Muppets celebrating the Earth and the importance of maintaining her. Three other stories include: Fraggle Rock: “River of Life,” “Owl & Frog,” and “Kangaroo & Frog.” Full screen. Dolby 2.0 mono. JIM HENSON’S ANIMAL SHOW WITH STINKY AND JAKE, is the first “animal talk show,” as hosts Stinky the skunk and Jake the polar bear welcome guests of the animal kingdom who discuss their ways of life and native habitats. 5 episodes on one disc. Full screen. Dolby 2.0 mono. Sony releases THE SPECTACULAR SPIDER-MAN VOLUME EIGHT, featuring episodes 24-26 of the hit TV series. Watch Spidey do battle with the Green Goblin, Molten Man, and the Chameleon. Terrific animation and some clever one-liners should make this a fun view for kids and parents alike. Widescreen. Dolby 5.1 surround. Finally, Paramount releases THE GREAT PANDA ADVENTURE, from the Nickelodeon series “Go Diego, Go!” featuring Diego embarking on a rescue mission to save endangered Panda Bears in China. Three more globe-trotting adventures ensue, with Diego helping native wildlife: “Leaping Lemurs,” Koala’s Birthday Hug,” and “Diego Saves the Beavers.” Full screen. Dolby 2.0 mono. DORA THE EXPLORER: EXPLORE THE EARTH! Features four episodes of the “Dora” series: “Mixed-up Seasons,” “To the South Pole,” “Save Diego,” and “Beaches.” All four episodes help expose kids to different seasons and environments, animals in different parts of the world, and Spanish language skills. Full screen. Dolby 2.0 mono.

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Scenes from the Marriage of PHYLLIS AND HAROLD

Our conversation with filmmaker Cindy Kleine on her new documentary about the life and marriage of her parents.

By Terry Keefe

In all honesty, Phyllis and Harold is one of the best examinations, fiction or non, of the subject of marriage that I have ever seen. Filmmaker Cindy Kleine started interviewing her elderly parents, Phyllis and Harold Kleine, about their marriage and lives for a project that became first a short film entitled ‘Til Death Do Us Part, which was structured as a series of talking head spots with both parents, and then broadened that project into this larger, more visually expansive feature over a 12-year period. Driving the film is a question Cindy Kleine poses at the beginning about her parents: “Who are these people?”

For starters, Phyllis and Harold are an upper middle class Jewish couple, living in suburban Long Island. They came of age during World War II and they married young, perhaps too young, because it was what everyone else around them did. Then, they stayed together, which may have been the real problem.

If you’ve lived long enough, regardless of where you are from, Phyllis and Harold are a couple that you will know and recognize. Their marriage has remained stable, for 59 years, but it feels lifeless. They don’t appear really unhappy together, but they certainly don’t appear particularly happy either. Resigned might be the best word, although Harold certainly seems more at peace and pragmatic about what life gave him than Phyllis, not that she doesn’t have her reasons for being unsatisfied. She did do something about it, however. In the biggest revelation of the film, Phyllis recounts a lengthy love affair with someone who was once a co-worker, and with whom the relationship continued in one form or another over many years. Kleine’s younger sister had a facilitating role in the affair by allowing her mother and her lover to meet in her apartment sometimes. Phyllis and Harold was not shown publicly until after Harold passed away.

Relationships that are filled with fighting, violence, substance abuse, and other high drama make for easier storytelling than what Kleine manages to create here without such big plot twists. Using the materials of her own life and that of her family, she finds the deep passions, longings, loneliness, and struggles within what on the surface appears to be a fairly average existence. For better or worse, you will recognize yourself in their story, and all the right and wrong decisions they have made along their life journey.

The story of Phyllis and Harold is brought to life by not just their interviews, but also a dense series of photos which Harold seemed to always be taking, showing the couple both at home and on vacations to some of the most exotic parts of the world. Also included is home movie footage taken, in part, by Kleine’s grandfather. The home movies and photos add great depth and intimacy, and make the film a true journey with this couple from youth to old age.

Phyllis and Harold is being released by Henry Jaglom and his Rainbow Releasing. The film was executive produced by Kleine’s husband Andre Gregory, the famed theatre director, playwright, and actor.

We spoke to Cindy Kleine by phone as she was on her way to a screening of the film at the American Cinematheque’s Aero Theater in Santa Monica.

How much agonizing did you have to go through when you made the decision to actually cut all of this footage of your parents together and make the feature film of Phyllis and Harold?

Cindy Kleine: A lot [laughs].

I ask, because you seem like a very thoughtful person from the film, and I can’t imagine it was an easy decision to put some of this information about your family out there.

It was agonizing, sort of, every step of the way. I knew I was making the film, it was done over 12 years, but I was constantly agonizing. Why I was doing it, and how I was doing it.

(Filmmaker Cindy Kleine, above.)

Did you show your mom any of the footage cut together at any point along the way?

No, but the film was first a short film called 'Til Death Do Us Part, which was a series of interviews [with Phyllis and Harold], of talking heads. She saw that whole film, that was very early on, and she loved it. She loved being a movie star [laughs]. From then, I kept wanting her to see it, but I didn’t want to show her a rough cut, because it’s sometimes hard to explain a rough cut, and she died before it was finished.

Did you show your dad any of the film?

He saw what she [my mother] did, early on. My dad saw the early short film, but not when it was completed, before I put in her really kind of blatantly talking about the lover. She was saying the things like “I didn’t want to marry him,” and I was nervous about his even [ seeing] that, but he thought it was hysterically funny.

(Phyllis and Harold, above.)

How typical do you think your parents were of their generation, in terms of their relationship? I’m from Long Island myself and elements of their story remind me very much of the stories of other older couples that I’ve known from that generation, particularly in regards to certain people eventually reuniting with the old loves that they didn’t marry.

I think their story is very typical of that generation. I always thought that, but even more so when I started talking to my mother’s friends, while I was making the film and showing them the short film, at least. Much to my surprise, many of the women, for example, who were my mother‘s friends, said, “Oh yeah, I also had a lover. I had a terrible marriage too.” A lot of them had the same situation. It was very wide-spread in that generation, because they got married very young. They didn’t know why they were getting married always. So, yeah, I think it was very, very common, and a lot of them, especially in my mother and father’s milieu, who were Jewish and of that generation…divorce was very, very uncommon to begin with, but especially in their set. It was sort of non-existent, and looked down upon, and not seen as an option.

You got married and you stayed with it.

And now the statistic is that 54 percent of marriages end in divorce. That’s certainly a big difference from those days.

How did your other family members react to the film?

I don’t have that many family members; we’re a small family. My sister loves the film, but she gets self-conscious because she still feels guilty about her complicity in [letting their mother and her lover] use her apartment and everything. But she really loves it and she loves being a movie star and everything, and she’s just mad at me for not making the whole film about her [laughs]. The only other surviving family members that have seen it are my dad’s brother and his wife. I was terrified to show them. I kind of coached them first, and told them a little bit of the story? But, they loved it too.

The film doesn’t feel manipulative, and it also feels very true. I’m going to guess that was a real challenge. You make it look effortless but -

No, it was very difficult. I had to really work on that. It was very important to me to really strike a balance, and not weigh it towards one side or the other. What’s interesting to me about the film is that a lot of audience members project their own feelings onto it. People say to me, “Oh, I loved your mother and I hated your father,” or “Your father was so great. He seemed like such a nice man. Your mother was so horrible.” People see their own thing in it, but it was definitely not something I did. I found that quite interesting, but it was a lot of work to make it very balanced. Especially, as you see, because she’s much more forthcoming and she talked a lot more. He doesn’t get lost in it, but he’s not, like, the star of it, as she is. That bothered me, so I worked really hard to make sure I kept putting more parts of his story in, to strike a balance. He just didn’t talk as much.

All of the home movie footage, and the extensive photos that your dad took…what an incredible resource for this film.

Those were invaluable. I absolutely say that I couldn’t have made the film without those as a resource, because, visually, there wouldn’t be enough material. The whole sense of time passing…of them just beginning their lives, to middle-age, to their wrinkled old faces. That to me, was the whole idea of the film.

(Phyllis in a sand dune, sometime mid-century, above.)

The last lines of the film, which I won’t reveal here, which speak about the dream you have about your parents and the metaphor about “luggage”…are very striking and sum up the entire story extremely well. As a writer, I wanted to ask how long did it take you to come up with them?

Actually, it came pretty quickly. Once I cut the dream in, I don’t remember really struggling with those lines very long. They just came out. It’s what happens occasionally, not very often [laughs].

You want it to happen all the time, but it doesn’t.

Right [laughs]. There were other lines that I really struggled with, but not those.

How did you become involved with Henry Jaglom and Rainbow Films, who are distributing Phyllis and Harold?

I’ve been an admirer of Henry’s films for years and years, and very early on, like 25 years ago, I sent him a very early cut of a film I was working on, because I knew he had this film company and he sometimes funded, or helped, young filmmakers. So, I sent him a rough cut of this [previous] thing, and then I never heard from him.

And when I finished this film…it was actually [my husband] Andre Gregory…the reason he’s credited as Executive Producer on the film because when I finished, he really gave me ideas and pushed me, and he actually said, “You really should send this to Henry Jaglom.” He actually grew up with Henry. They were children together.

I said, “Well, I once sent him something and didn’t hear from him.” Andre said, “When was that?” I said, “Oh, you know, 25 years ago.” He said, “That’s ridiculous. This is a great film. Just send it.” I did, and Henry called me flipping out over it. He really loved, loved the film, and he offered to distribute it, before anyone else had even seen it. He was an early champion of the film.

Do you know what you’re working on next?

Yes, I’m already working on it, in fact. It’s a memoir film about my husband, Andre, about his life and work, and also about our life together. It’s about a good marriage.

Phyllis and Harold opens today, April 9th, in Los Angeles, and is currently playing at the Laemmle Theatres in the Music Hall 3 and the Fallbrook in West Hills.

Relevant Links:

Cindy Kleine’s website

PHYLLIS AND HAROLD film website

Rainbow Releasing website

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