Archive '05 - Bicycle Review (Emmanuel's Gift)

This review originally appeared on the Chicagoland Bicycle Federation’s “Roll Film” movie review site (http://www.biketraffic.org/content.php?id=219_0_6_0). Each film was also reviewed by my CBF colleague, Greg Borzo, who focused more on the bike content.


EMMANUEL'S GIFT

2 1/2 Wheels

I had never heard of Emmanuel Ofosu Yeboah, but after seeing the moving and inspirational documentary, Emmanuel's Gift, I will certainly never forget him. He is a true-life hero and, because it tells his story, this film deserves to be seen.

Like 10 percent of the population of Ghana, his home country, Emmanuel was born disabled. A deformity in one of his legs had rendered it useless, which would be hard enough for anybody, but was even more devastating in a culture where the disabled are looked upon as cursed and destined only to be beggars. Emmanuel, however, will not be relegated. He trains himself to ride a bicycle using only his one good leg and, in 2002, cycled 600 kilometers across Ghana.

While Emmanuel's Gift features some footage of Emmanuel riding, unfortunately, his miraculous cross-country trek was not filmed. What we do see is how this ride changed not only Emmanuel's life, but the culture of Ghana itself. Emmanuel's persistence and charisma are evident in the comprehensive interviews he gives throughout the film.

Just as inspirational is the bond he forms with other disabled athletes, especially Jim MacLaren, whose own story could make just as moving a film. These bonds set the stage for Emmanuel's true calling, improving the lives of his countless handicapped brethren, still suffering from lack of care and understanding in Ghana.

Emmanuel's Gift is a documentary made to promote this cause. Because the cause is so noble, it's tempting to give the film a pass on its shortcomings. Because Emmanuel's story is so compelling, it makes for a compelling film, but this is entirely due to the subject matter and not anything the filmmakers bring to the table. Sister directors Lisa Lax and Nancy Stern deserve praise for bringing this documentary to the big screen, but their only previous credentials had been in making short films for the Olympics.

Non-stop music combined with a distracting and unnecessary narration from Oprah Winfrey often undercut the real drama being played out. As long as we're watching Emmanuel's story unfold, we're captivated, but there are simply too many scenes where we are being told what we're seeing and how we should be reacting to it.

It's interesting that this film is being released in the same year as Murderball, another documentary about disabled athletes. The tones are very different in that Murderball rejects sentimentality while Emanuel's Gift embraces it. The underlying message that spirit and hope can overcome physical limitations is present in both films, but the way it's communicated could not be more different.

Emmanuel's Gift may be a flawed film, but one benefit of the documentary format is that real life can provide genuine moments of truth not subject to the perspective of filmmakers. One such moment is watching Emmanuel fitted with a prosthetic leg after surgery. By this point in the film, we have come to know him and we know it won't be long until he's running marathons and helping others follow in his footsteps.

Archive '05 - Bicycle Review (The 40 Year-Old Virgin)

This review originally appeared on the Chicagoland Bicycle Federation’s “Roll Film” movie review site (http://www.biketraffic.org/content.php?id=219_0_6_0). Each film was also reviewed by my CBF colleague, Greg Borzo, who focused more on the bike content.


THE 40 YEAR-OLD VIRGIN

3 1/2 Stars

The 40 Year-Old Virgin begins as if the title character, played by Steve Carell, will be presented as your traditional movie nerd. We know he's a nerd because he collects action figures, decorates his apartment with 1930s Universal monster movie memorabilia and has a framed poster of the early eighties band, Asia, prominently displayed on his wall. There's one more clue. Andy does not drive; he rides a bike.

After a little over a year of reviewing bicycle films, the one constant I've observed is that Hollywood believes that normal people do not ride bikes. There are only four types of characters allowed to ride on the big screen (1) an athlete trying to win the big race, (2) someone who is poverty stricken and whose bicycle allows him or her to work, (3) a kid around the age of eleven, and (4) a nerd, geek, dweeb, etc. Only last month, we focused on Pee-wee Herman. Jason Schwartzman has played a bike geek twice, in Rushmore and I ♥ Huckabees. There is a pattern here.

Fortunately, Virgin quickly abandons all patterns and succeeds in what may be the most difficult type of film to do right—the raunchy comedy with a heart of gold. These are two qualities that cannot be easily combined. National Lampoon's Animal House set the gold standard for raunchy comedies, but would we be laughing so hard if the characters weren't aggressive, stupid and insane?

I'm here to tell you that The 40 Year-Old Virgin is consistently funny throughout. As for tastelessness, most of the best gags are fully unsuitable to describe in this family-friendly review site. (But you may want to put your popcorn down when the Lionel Richie song comes on because you'll be laughing so hard, you may spill it.)

Director Judd Apatow, understands a very basic rule about comedy that most filmmakers forget: When you set up expectations, do the opposite. Adam Sandler, for example, begins most of his movies with the premise that his character is an anti-social moron. He then proceeds to act that way for an hour and a half. Not funny. Virgin, on the other hand, fakes us into thinking that the title character will be some loser to be pitied, but then has Carell play up his likeability and resourcefulness.

That's only the first reversal. One would think that, given the nerd is the hero, his sex-obsessed coworkers would be portrayed as mouth-breathing Neanderthals. No, their efforts to get Andy some action are well-intentioned, despite the disastrous results. These efforts also provide most of the movie's laughs. Nor will Virgin follow the sexist lead of Porky's and portray women as one-dimensional sex objects. In fact, The 40 Year-Old Virgin is somewhat unique in that it seems to have no unsympathetic characters at all.

By the end of the film, the raunchy sex comedy will become a touching love story (thanks to the chemistry between Carell and his love interest, played smartly by Catherine Keener). Even the previously mocked bicycle will return for some heroic moments. Best of all, it earns its musical ending without ever losing its humor or edge.

Archive '05 - Bicycle Review (Pee Wee's Big Adventure)

This review originally appeared on the Chicagoland Bicycle Federation’s “Roll Film” movie review site (http://www.biketraffic.org/content.php?id=219_0_6_0). Each film was also reviewed by my CBF colleague, Greg Borzo, who focused more on the bike content.


PEE WEE'S BIG ADVENTURE

3 Wheels

Surprisingly enough, I laughed out loud a few times while watching Pee-wee's Big Adventure and remained fairly amused throughout. I say "surprisingly" because Pee-wee Herman has never struck me as a particularly funny character. It's not that I find him horribly annoying in a Carrot Top kind of way. I've just never gotten into the whole Jerry Lewis man-child genre of humor.

What saves the Pee-wee character for me is that Paul Reubens does not play him as a clueless klutz. Instead he combines utterly juvenile behavior with an unbridled spirit of optimism. You don't pity Pee-wee for being a child trapped in an adult's body because he wouldn't have it any other way.

Intrigued by my enjoyment of this film, I checked out a couple episodes of his children's show, "Pee-wee's Playhouse." That didn't go quite as well. This shouldn't have surprised me because that show did not have the film's secret weapon, director Tim Burton.

Burton is revered among film buffs for his extreme use of Gothic set design and his affinity for misfit outsiders. Since Pee-wee's Big Adventure is his first film, audiences could not have known that it would fit in so appropriately with themes he would later develop. For instance, in my favorite Burton film, Ed Wood, Johnny Depp (in an extraordinary performance) plays the talentless cross-dressing director with an unbridled spirit of optimism and a single-minded obsession for making movies. Pee-wee Herman also has an obsession - to recover his stolen bicycle.

Pee-wee loves his bike as much as any movie character has ever loved an inanimate object. For all the bicycle films we've reviewed, I believe this is the first bike to have such a distinct look that you could recognize it on the street. A very funny sequence occurs shortly after the bike is stolen as increasingly ridiculous variations of bikes seemingly mock him as they pass.

The rest of the film follows Pee-wee as he searches for his beloved cycle, but Tim Burton is not content to make a predictable road comedy. This is the man who would create stylized universes for characters as demented as Beetlejuice, Batman and Willy Wonka. He gives Pee-wee a real playhouse filled with a bizarre supporting cast and sets far more creative than one would expect from a Pee-wee Herman movie.

Also in the overachiever category, we can't neglect the wild and inspired score from Danny Elfman. This soundtrack combines the anything goes antics of his former new-wave band, Oingo Boingo, with the more traditional soundtrack work he'd do for Burton and other directors. Once again, one would not think that a Pee-wee Herman movie would require a score this good, but throughout the film, Elfman's music brings a surprising level of force and conviction.

Pee-wee's Big Adventure was just a warm up for Tim Burton. He'd soon find a partner of more formidable talents in Johnny Depp. Their collaborations (especially Ed Wood and Sleepy Hollow) would make good on the creative potential only hinted at in this debut.

Archive '05 - Bicycle Review (La Course en Tete)

This review originally appeared on the Chicagoland Bicycle Federation’s “Roll Film” movie review site (http://www.biketraffic.org/content.php?id=219_0_6_0). Each film was also reviewed by my CBF colleague, Greg Borzo, who focused more on the bike content.


LA COURSE EN TETE

2 1/2 Wheels

One of the most effective moments in La Course en Tête comes as we see a rider break down in tears after losing a race. Because this is a documentary, the moment is raw and honest. We are not informed who this rider is, but it is not Belgian cycling champion, Eddy Merckx, the subject of this film. The anonymous rider's moment of devastation is a powerful image taken out of context. This is both the strength and weakness of the entire film.

Director Joel Santoni made a creative decision to explore Merckx's rise and fall on the racing circuit without regard for chronology or narrative. We get bits and pieces of Eddy Merckx's story, but they are scattered throughout. Interviews from different years are spliced together, which further disrupts any coherent time line. The director has embraced the documentary style of cinema verité, which seeks to find truth by using unobtrusive handheld cameras to simply observe without commentary.

We learn that Eddy was a great champion, winning the Tour de France in 1969; that he was a dedicated family man; and that he was accused of using performance-enhancing drugs. None of these points are delved into too deeply and, as a result, we never truly get to know Merckx. Santoni would rather show us the life of racers in general than to detail the life of this particular racer.

La Course en Tête begins with old-time footage of bicycle racers from the silent era. This opening not only sets up the subject matter, but also prepares the viewer to experience a film that functions primarily as a silent. There is quite a bit of racing footage included and, without the use of fancy camera effects, it succeeds in revealing the aesthetic beauty of the ride. It's also refreshing to hear racing sequences not backed by synthesizers. (Most of the music would be at home at a renaissance fair.)

To the extent that the film has a point of view, it is that of Merckx's wife who makes it very clear that she would prefer to be the wife of a retired racer. Brutal scenes of falls and injuries punctuate her concerns about her husband's safety. There is also striking footage of racers braving the elements and riding through rain, fog and snow. The combination of these various filmmaking decisions sets a darker tone than expected. The film is much more interested in the hard struggle of the training and racing than the glory of winning.

So am I recommending La Course en Tête? Kind of. I was glad to see many of its powerful images and there were a few moments that allowed me to viscerally share the experiences of these great athletes. Unfortunately there is also a lot of footage that seems redundant and most likely included as filler.

I wanted to learn more about Merckx, but very little information was conveyed. Those already familiar with his story may be better served, but, as "the Movie Guy" whose knowledge of bicycling champions begins and ends with Lance Armstrong, I will need to look elsewhere to be educated.

Archive '05 - Bicycle Review (The Muppet Movie)

This review originally appeared on the Chicagoland Bicycle Federation’s “Roll Film” movie review site (http://www.biketraffic.org/content.php?id=219_0_6_0). Each film was also reviewed by my CBF colleague, Greg Borzo, who focused more on the bike content.


THE MUPPET MOVIE

4 Wheels

Yes, The Muppet Movie only features one scene with a bicycle, but it's a doozy. Kermit the Frog had, up to this point, only been seen from the torso up. When we see America's most beloved frog in full for the first time, he is riding a bicycle. Remember, this is long before computer animation. For many in my generation, this is as memorable a special effect as Superman flying. (You'll believe a frog can pedal!)

I claim no objectivity in this review. I grew up with the Muppets and they are fully integrated with my childhood memories. For many in their thirties today, the Muppets played the same role as Walt Disney characters for earlier generations. "Sesame Street" debuted in 1969, the year before I was born. As toddlers, we learned to read and count with the help of Jim Henson's creations.

As we grew from toddlers to children, the Muppets grew with us. "The Muppet Show" (1976-1981) was not just for kids, but for the entire family. Unforgettable characters like Fozzie Bear, Miss Piggy and The Great Gonzo combined slapstick, music and puns for a consistently high quality satire of seventies-era variety shows. After The Muppet Movie, Henson developed more realistic and even disturbing creatures for The Dark Crystal and Labyrinth, which was geared toward young teens.

The genius of The Muppet Movie is that it took these characters we grew up with in a TV studio and placed them, for the first time, in the real world. It's an old-fashioned road movie about how the core Muppets first meet and their dreams of becoming movie stars in Hollywood. The first shot is a zoom into a real swamp with Kermit playing banjo in a rowboat.

Throughout, the Muppets will interact, not with a kid's movie cast, but with legendary performers like Bob Hope and Orson Welles. This movie also features bits by Steve Martin, Richard Pryor and Mel Brooks. These are not just three of the funniest comedians of the time, but also the edgiest.

Among other things, The Muppet Movie has going for it are the memorable musical numbers by Paul Williams. "The Rainbow Connection" is a simply beautiful song. Its lyrics about making dreams come true are genuinely moving and provide an emotional anchor to contrast with the silliness.

Speaking of silliness, my favorite pun is the exchange between Kermit and Fozzie as they reach a fork in the road. Kermit says, "Bear left," and Fozzie replies, "Frog right." Looking at the film again as an adult, I was pleased to discover that, unlike many childhood favorites, The Muppet Movie holds up. Somehow these pieces of cloth come off as more human than many actors who have starred in similar plots. For my money, it's my favorite film geared primarily towards kids. It's full-on entertainment and a classic.

(By the way, none of the Muppet sequels approach the quality of the original, but it should be noted that in 1981's The Great Muppet Caper, a whole slew of Muppets are seen riding bicycles as a nod to the famous bike scene in this film.)

Archive '05 - Bicycle Review (6 Day Bike Rider)

This review originally appeared on the Chicagoland Bicycle Federation’s “Roll Film” movie review site (http://www.biketraffic.org/content.php?id=219_0_6_0). Each film was also reviewed by my CBF colleague, Greg Borzo, who focused more on the bike content.


6 DAY BIKE RIDER

2 Wheels

The first question you're asking as you peruse this review of 6 Day Bike Rider is, "Who is Joe E. Brown?" If you're over seventy, you may remember him as one of the biggest comedy stars of the 1930s.

It's more likely that, if you've heard of him at all, you know him from Billy Wilder's 1959 classic, Some Like It Hot. In that film, he played the old millionaire who was so enamored by Jack Lemmon in drag that he uttered the film's famous closing line.

So what kind of comedian was Joe E. Brown? His main asset was his very odd-looking face. With beady eyes and a huge grin, he looked like a cross between Jar Jar Binks and the Joker. If I were to compare him to a better known comedian, I'd have to say his persona most resembles Don Knotts in his Deputy Barney mode on "The Andy Griffith Show." Let's be clear though. Despite the funny face, Brown is nowhere near as funny as Knotts.

In fact, Joe E. Brown's shtick is horribly dated and he's not very likeable. I do believe the man actually says "golly gee wilikers" at some point in the film. His voice is his downfall. It's a gruff, hillbilly voice that doesn't match the rubber face. The only gags in 6 Day Bike Rider that work are the visual ones, especially in the racing scenes at the end. This may have worked better as a silent film.

The plot—the hero must prove himself to earn the love of a girl—would have been right at home in a Charlie Chaplin or Buster Keaton film. The difference is that Brown never convinces us that he is actually in love. He just keeps claiming that he and Phyllis (Maxine Doyle) are engaged, but he hasn't told her yet. Either Chaplin or Keaton, the silent greats, would have brought more heart and more laughs than Brown is able to provide.

These opinions of Brown are based solely on my viewing of 6 Day Bike Rider. It was convention, at the time, for comics to continually play the same persona in film after film. I'm assuming that this is the case with Brown and that 6 Day Bike Rider is a fair example of him in his prime.

As for the bike race itself, it was surprisingly well done for a 1934 film. Although the Depression is never mentioned, it's clear that it was the backdrop for a race that literally lasts six days (partners tag team). These endurance tests for money were a staple of the Depression era. For a much more somber look at that aspect of the era, check out Sydney Pollack's They Shoot Horses, Don't They.

It's easy to see why Brown did not last in the cultural consciousness with his contemporaries like Laurel and Hardy, The Three Stooges, Abbot and Costello and especially, the unparalleled genius of the Marx Brothers. It's probably no coincidence that these are all teams. Maybe if Joe E. Brown had a partner, we'd still know him. Oh well. Nobody's perfect.

Archive '05 - Bicycle Review (Rad)

This review originally appeared on the Chicagoland Bicycle Federation’s “Roll Film” movie review site (http://www.biketraffic.org/content.php?id=219_0_6_0). Each film was also reviewed by my CBF colleague, Greg Borzo, who focused more on the bike content.


RAD

1 1/2 Wheels

For a movie whose title practically begs to be followed by an explanation point, Rad is a surprisingly mellow affair. Even much of the bike riding seems to be shot in slow motion. There's nothing of any merit here, but it's so low-key that I can barley summon the energy to trash it.

The first thing I noticed about Rad is that it's filled with product placement. USA Today, 7-Eleven, Coca Cola and Kix cereal all make non-to-subtle appearances. It makes some sense though, because the film kind of looks like a ninety-minute TV commercial. Not even a modern souped-up one, but one of those grainy ones from the seventies.

There's a general lack of anything resembling professional filmmaking throughout, but that's due to a genuine lack of talent on the part of the filmmakers. Unlike the much worse Quicksilver, in which clearly skilled Hollywood folk sold their souls for formulaic commercialism, the Rad crew know they're making a silly little movie for no money and they give it their best shot.

Plots don't get much simpler. Hometown boy, Cru Jones, competes in the corporate dominated BMX race, Helltrack, against overwhelming odds. In this case, the odds include a scheduling conflict with his SAT test and random sponsorship related rule changes. (Well, maybe the odds aren't so overwhelming.)

Bill Allen plays Cru without even a trace of charisma and gets little support from the young cast who all seem to be reading off cue-cards. The older character actors, including Ray Walston (Fast Times at Ridgemont High), Talia Shire (Rocky) and Jack Weston (Dirty Dancing), understand that they're slumming it and make the most of their screen time by shamelessly chewing scenery.

You might think that the director of such a film would be a naïve young newcomer, but none other than, stuntman-turned-director, Hal Needham, has helmed this project. Forgot Hal already? His resume includes Smokey and the Bandit, Hooper, The Cannonball Run and Stroker Ace. Yes, he's the man who oversaw both the rise and fall of one Burt Reynolds.

Despite their box office draw at the time, these Reynolds/Needham movies functioned pretty much at the level of a "Dukes of Hazzard" episode. Rad isn't that much worse. It's just that, without the star power, it had to be made on an extremely low budget. Needham does give a nod to his old buddy though—two villain BMX riders are identical brothers known as The Reynolds Twins.

To end on a positive note there are a few nice things I can say about Rad. The BMX stunt riders show impressive ability, especially since it's obvious the film had no budget for special effects. The film also features an early eighties song that I had completely forgotten about called "Send Me an Angel," a one-hit-wonder from the band Real Life. I enjoyed the song so much that it didn't even bother me that it accompanied Cru and his girlfriend performing romantic bike stunts in the middle of a high school dance.