What was I doing in September 2000? I don't remember. But here we have my first rewatch of one of the year's Oscar winners, Almost Famous, critically acclaimed but a box office bomb on its initial release, which nevertheless has gone on to an artistic and cultural reputation that makes many go back and ask, "Why the hell wasn't that nominated for Best Picture?"
Almost Famous
release: September 13
wins: Best Original Screenplay
nominations: Best Supporting Actress (Kate Hudson, Frances McDormand), Best Film Editing (Joe Hutshing / Saar Klein)
dir/scr: Cameron Crowe
pr: Ian Bryce / Cameron Crowe
cin: John Toll
A genius 15-year-old fibs his way into becoming a Rolling Stone correspondent, following a rising rock band on their American tour and getting quite a life lesson.
First saw this on film at the Florida State University Student Life Cinema - the big screen, the way it was meant to be seen - in 2008 or 2009.
The thrill of finding people who understand you and accept you, your people. The fear and excitement of striking out on your own for the first time, away from parents, away from home, only your wits to guide you. The breathless exultation and, honestly, general frustration of being in love, frustrating because you can hear the logic and see the evidence that this person really isn't for you, but your heart can;t help what it knows, that this is it, this is the great love of your life, that defining love, you want to kiss her and shake her and smack sense into yourself. And music...oh, music, that sonic experience that is both intimate and communal, a way of identifying and communicating depths of feeling when your own words aren't enough, not even exclusively because of the lyrics, but because a chord, a piano riff, a drum beat, unlocks something right and true, something you know in your heart and your spine, something ancient and unknowable...except when you hear it. And it's done right, everyone can appreciate it - it's why a hard rock band like Stillwater knows all the words to "Tiny Dancer," it's what Penny Lane means when she tells William Miller, "You are home." Oh, how this movie gets it!
But it works for me on another level, too. I tripped into becoming a live news producer in my 20s, got to meet a lot of actors and singers I loved, had drinks with a few people I looked up to, there were moments when a few of them asked for my number because "we have to keep in touch!" Rewatching Almost Famous after 16/17 years, now armed with these experiences, brought a new appreciation for this story of whirlwind excitement (though, fortunately, being a decade older than this movie's lead when I had my experiences, I did not have such a rough landing when I came back down to Earth). And it allowed me sympathy for our young hero's frustrations with organizing and writing and, even worse, getting people to actually commit to do the interview they'd promised, the ease with which one can be distracted by the good times, the strange blur between the personal and the professional (though I was better at keeping those lines distinct than some others). I even had sympathy for the Rolling Stone editors who must approach all stories with healthy skepticism because, hey, it's their asses too if shit goes sour. The truth is, journalism is never going to be the whole truth, there's only so much space designated, and the people quoted can be fickle and litigious - that's why "on the record" is so important to nail down.
I don't have a summing up, but clearly this movie spoke to me.
Best in Show
release: September 29
dir: Christopher Guest
pr: Karen Murphy
scr: Christopher Guest & Eugene Levy
cin: Roberto Schaefer
Mockumentary following several contestants and their owners and trainers in the national dog show competition.
Probably the best-known, most widely seen of the Christopher Guest films, thanks mainly to its constant presence on TV. That's where I saw it, at least, in bits and pieces over time, and I remember my parents had also rented the VHS from Hollywood Video at least once (I always remember Hollywood Video rentals because they actually had the cover art). And all my friends in high school saw it and quoted Jennifer Coolidge, more than had seen Waiting for Guffman, curiously enough.
I think I've said before that Waiting for Guffman is my favorite, but this might objectively be the best - the edit's tight, the jokes come fast, the tone is an easygoing bemusement without malice, and the performances are varied and all are interesting. What unique portraits we get of dog owners: some live through the dogs, some treat the dogs as extensions of themselves, some are just so aw-shucks impressed that they figure others must be, too; some are stage parents with no care for the animal's welfare, while others are loving, natural caregivers. It's just a blast.
Remember the Titans
release: September 29
dir: Boaz Yakin
pr: Jerry Bruckheimer / Chad Oman
scr: Gregory Allen Howard
cin: Philippe Rousselot
A high school in the South is forced to integrate, which includes a new Black coach for their champion football team - someone who will help raise and reduce the tensions, forming a team that will bring everyone in town together.
Hard to believe I missed this in theaters, but it's true, I didn't see it until it came out on home video. Maybe I misremember, but I feel like we even owned it on DVD. It was a mainstay at home but, even if it wasn't, I would have seen it 100 times: this was the movie for substitute teachers, early release days, and such. Including the one class where we actually watched it for historical and cultural analysis, I think I saw this seven times in a school setting. Probably hadn't seen this since college, though...I mean, one does desire a break every now and then.
It holds up. Scripted very well, very humanly, observing how the people you can consider friends and neighbors who "just need some time" to get used to a new idea maybe are just racist. But also how, for many, differences are not insurmountable - as Coach Boone teaches: sitting together, bunking together, getting to know the basics, that's the foundation, that's how you see a person as a person, find commonalities, remember that everyone is dealing with their own stuff, the very least we can all do is treat them as people not dismiss them outright based on color. That extends to the coaches, too, the tension and friendship between Denzel Washington and Will Patton is great to watch. A who's who of young stars fill out the football team: Ryan Gosling, Kip Pardue, Donald Faison, Ethan Suplee, Wood Harris, all great, but the MVP, for me, is Ryan Hurst as Gerry Bertier, who has his arc from racist to humanist, big dog to team player, legend on the field to bedridden, and plays them all realistically. Great soundtrack, not the most unique choices (there are fully three songs that also show up in The Replacements), but used very well.
Tomorrow, my first time watches from September 2000, including Urban Legends: Final Cut.
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