THE SONG OF NAMES

Clive Owen     Tim Roth     Catherine McCormack     Jonah Hauer-King     Eddie Izzard

     The title—which is the same as the novel by Norman Lebrecht—is puzzling, but its origins will be revealed in the movie, along with its cultural associations. Fundamentally, the story is about brotherly attachment between two boys across many years.  Martin’s father, Gilbert, out of his love of music decides on the spot to take a young Jewish violinist with promise into his home in London during the build-up of WWII when the Nazis were apparently going to invade Poland, the boy’s country.  Davidl’s father returns to Poland to protect the rest of his family, promising the child that he will return for him.  

     Gilbert also thinks the arrangement will be good because his son Martin is about the same age as Davidl, and they can room together.  It turns out that the two boys are decidedly different in character and values, but after initial conflicts, arguments, and competitions, they become fast friends, though always with an edge.  An underlying sibling rivalry develops immediately, especially when Martin sees that his father clearly favors Davidl and indulges him much more than he does his own son.

     The complexity brought out in this relationship fraught with ambivalences is one of the strengths of the story because it carries a wealth of information about families and individuals that rings true to life and to the people we know from our own experience.  It’s made even more complicated by Davidl’s chameleon-like personality—intelligent, self-possessed, witty, cynical—very much his own person whose behaviors and points of views are often surprising.  He’s charismatic, along with being a gifted violinist. This is very different from Martin, a protestant well brought up to show respect, follow the rules, and think of others.  He is bright, though, and is also a musician (piano). 

     In adult years, Davidl has achieved fame, and is considered one of the best. Gilbert has booked him for concerts, which are well attended.  Then, one night, inexplicably, Davidl does not appear for a performance, and the waiting audience is sent home.  Davidl had been greatly affected by news out of Poland and unknowns about his family.  It is perhaps after getting some very distressing news about where they have been sent that tips him over the edge.  Davidl has abruptly disappeared before, but this time, he cannot be found.

     The plot then takes a turn into a detective story, with Martin obsessed with finding Davidl and getting an explanation.  This extends over 30 years, with his wife Helen becoming thoroughly exasperated with his doggedness.  We question what this is about, but can only speculate from a number of possibilities.  This detective story aspect of the film appealed to me, as Martin goes on one lead after another trying to trace the enigmatic Davidl.  Through these efforts, more of Davidl’s life and his experiences are revealed, along with the people he has met along the way.

     The real star of the movie is Tim Roth, who plays Martin with all of the acting skills he has.  It is probably his best performance to date.  Photography by David Franco is exquisite, particularly when he superimposes two scenes from earlier and later in the story as a graphic to illuminate the significance of “The Song of Names” for the characters.  Howard Shore’s music is likewise a major asset in classical works as well as the background score.  The three actors who play Davidl (Luke Doyl, Jonah Hauer-King, Clive Owen) convincingly and expertly play the violin.  How much is their own playing versus special effects, I don’t know; I couldn’t tell.  Either way, it was beautiful music to my ears.

A period film set in the world of music that combines pure drama with cross-cultural exchanges, wartime trauma, and sleuthing to extraordinary effect.

Grade:  A                                    By Donna R. Copeland

ABOMINABLE

Voices of:  Chloe Bennet     Tenzing Norgay Trainor     Albert Tsai     Eddie Izzard     Sarah Paulson     Tsai Chin

     This is a kid-friendly adventure with a delightful mixture of pure fantasy, thrills, magnificent scenery, and good-natured playfulness, while reminding viewers of the importance of home, family, memories, and paying attention to grief and hardship—all substantive values we want our children to learn.

     “Abominable” is a reference to a mythical creature supposedly living in the mountains of Asia.  His other name is “Snowman”, which the filmmakers have exploited for visual purposes by presenting him as a big furry snowball to detract from his yeti reputation of being a dangerous character.  

     In this story, a yeti appears out of nowhere into a teen girl’s life quite by accident. We’re not told immediately how he got to where he is, but he’s in a big city when he spots a travel billboard with a picture of Everest on it and runs toward it, thinking it is his home.  But he’s actually in Yi’s rooftop secret playhouse.  As they get acquainted with each other and begin to be able to communicate, the threat of a helicopter with a bright light looms overhead, and Yi realizes it is searching for “Everest”, as she has named him.  The yeti has enormous eyes and is somewhat clumsy, but he has a quick mind and an eye for danger. When he keeps gazing longingly at the Everest billboard, Yi (Bennet) knows he is wishing to go home, and she intends to get him there.  And as one character says in the course of the story, “When Yi sets her mind on something, nothing is impossible.”

     Getting Everest home will be a journey with obstacles no one on the trip could predict.  Two other kids manage to come along; Jin (Trainor), Yi’s responsible cousin, and his little brother Peng (Tsai).  But the major concerns for them are Mr. Burnish (Izzard), a collector of exotic animals, and his colleague, Dr. Zara (Paulson), a zoologist, who are in hot pursuit.  The intentions of these two are questionable right from the start.  They will be tailing the small party, trying desperately to trap them for various purposes, but primarily in the interest of their reputations—(just one of the many enlightening models offered by the filmmakers for children’s benefit).

     Yi is depicted as grieving for a now absent father and trying to compensate for the loss by earning extra money, honoring his dream of taking her to exotic places in the world, and being the best violin player she can be with his violin left to her.  Jin is portrayed at first as a fashion-absorbed teenager who seems to be preoccupied with popularity and appearance, but later, is shown to have protective feelings toward his cousin (unbeknownst to her; she will only discern this much later) and his little brother.  Peng is a typical child who recognizes the yeti as a peer, letting Yi realize that Everest is only a child who misses his mommy and daddy.

     The Abominable story is engaging for all ages of children, providing excitement, mystery, and enchanting fantasies—a delightful “action film” for them, with models for learning rather than violence for thrills so common in action films for adults.  As with today’s action figures, Everest has special abilities he introduces with a humming sound that transport the kids out of danger more than once.  Blueberries are used in one trick, which produces tittering delight from the audience.

     Writer Jill Culton and her co-director Todd Wilderman are to be congratulated for such an exciting, very contemporary, story that contains many gems of truth. Main characters voiced by the children (Bennet, Trainor, and Tsai) and adults (Izzard and Paulson) are snappy and fun, with well- drawn and animated forms.  Really fine production design (Max Boas), music (Rupert Gregson), and cinematography (Edward Crawford) fit right in with this quality mix to help make it a hit.

An action film for kids with heart, spirit, and delightful humor.

Grade:  A                                    By Donna R. Copeland

VICTORIA & ABDUL

Judi Dench     Ali Farzal     Michael Gambon     Tim Piggot-Smith     Eddie Izzard     Olivia Williams

     Victoria and Abdul is sumptuously filmed under the fine direction of Stephen Frears, with cinematographer Danny Cohen.  Alan MacDonald (production design), Sara Finlay and Adam Squires (art direction) give us the opportunity to live for a time in royal luxury and splendor against the backdrop of the lush English countryside.  But all of this beauty is offset, sadly, by the rancor and prejudice shown to Abdul (Ali Farzal) by the Queen’s staff and relatives. Abdul was an Indian commoner who had become a favorite of Queen Victoria when she requested two Indian men be brought to her to be her servants.  It appears that she was curious about another culture and thought that, as Empress of India at the time, she needed to know something about it.  She and Abdul seemed to hit it off right away, and he began to instruct her in Urdu and the Koran and “anything else he could think of” (in her words).  This elevated him from wait staff to being her “munshi” (teacher), and during the 15 years of their acquaintance, she continued to promote him and give him honors.

     Queen Victoria was much more enamored by her husband Albert than her children, and because of her regal responsibilities, he became the primary parent to their nine children.  Because his German background placed an emphasis on discipline and education, he tried valiantly to instill those values in his children, especially his oldest son and heir to the throne, “Bertie”, Prince of Wales, who would become Edward VII.  Unfortunately for him, Bertie was very different from his older sister Vickie who absorbed her father’s teachings like a sponge; he was so oppositional he appeared to be a dullard, which is how he is portrayed in the film.

     Since the Queen had delegated responsibility for the children to her husband, they were not especially devoted to her.  So when Abdul appeared on the scene and was so attentive and worshipful, her maternal instincts were kindled, and he became a favorite, much to the consternation of those around her who had been schooled in proper English society and held disdain for brown-skinned people in British colonies. 

     This account—“based on a true story…mostly”—of an interesting period late in Queen Victoria’s long reign, is interesting in its illustration of the power of the Queen—even in her old age—her egalitarianism despite the culture around her, a picture of how fawning and self-serving people close to her had become, and how race/class/religious prejudice was so prominent in Victorian England.  It asks us once again, “How long will discrimination against colored people and lower socio-economic classes continue?  Because it’s still all around us today.

     Judi Dench is again her own inimitable, consummate portrayer of a real person.  She shines, as always, and Ali Farzal as Abdul, is an able foil.  We become rapt in their relationship, and although there are countless others in all the scenes, they fade in comparison to our fascination with the solid, rather unconventional, friendship. 

     Although I found most of the film to be top-notch quality, there were times when the film seemed to lapse into parody or a farce when I wanted it to maintain its seriousness and depth.  

A successful period film that exposes the underside of what period films typically convey.

Grade:  B                                    By Donna R. Copeland

ROCK DOG

Voices of:  Luke Wilson   Eddie Izzard   J. K. Simmons   Lewis Black   Matt Dillon   Sam Elliott

     Rock Dog is a Chinese-American 3D computer-animated film, based on a popular Chinese graphic novel, Tibetan Rock Dog by Zheng Jun, a Chinese rock star.  The film originated in China and has Chinese backers, but is directed by American Ash Bannon and animated by an American studio, Reel FX.  It’s a great movie for children, with its simple but heartwarming story and thoughtful treatment of stealing, fear mongering, mistrust and hatred of strangers, honesty, and pomposity.  The characters and sets are well drawn, with sharp lines and bold colors. 

      Bodi (Wilson) is a mastiff living on Snow Mountain with his father who wants him to follow in his own footsteps and become a guard against wolves in a community where sheep production and products is its main industry.  Wolves haven’t attacked in years, but Khampa (Simmons) wants to be prepared just in case.  Actually, the wolves have stayed away from Snow Mountain because they heard that Khampa had recruited and trained a huge army of dogs for protection.  In fact, Khampa has simply dressed up sheep to look like ferocious guard dogs—a twist on the admonition, “Beware of wolves in sheep’s clothing”—a clever joke for adults in the audience.

     The thrust of the story is about Bodi’s wanting to pursue his own dream of being a musician and “finding my band.”  Khampa is disdainful of this idea and uses all kinds of ruses to make Bodi change his mind.  But Bodi has an advocate in his father’s friend, Fleetwood Yak (Elliott), who counsels the father to allow his son to go to the city and chase his dream.

     Bodi has been further encouraged by his listening to a radio that was accidentally dropped from the sky out of an airplane, landing right in front of him in a meadow.  He turns it on and is thrilled that it has rock stations playing music all the time, as well as interviews with stars.  One of these is Angus Scattergood (Izzard), a current rock idol.  Bodi is sure Angus is talking directly to him in his encouragement to play, play, play his guitar, and success will surely come, just as it did for Angus.

     When Khampa finally gives his permission for his son to go to the city, Bodi goes and looks for Rock Park where musicians hang out.  He meets a trio, and one teases him by advising him to go to Scattergood’s house and be extremely persistent in getting the star to give him music lessons.  The naïve Bodi takes off immediately.  Of course, this is dangerous, because the star has rigged his house with electrical wires and booby traps to keep visitors away.  But through complicated events, persistence, luck, and his good nature, Bodi gets through the door. 

     This is not enough, however, because proud, pretentious Angus is horrified at the thought of mentoring anyone so humble.  To make matters worse, Bodi is being chased by urban wolves led by ruthless, unscrupulous Linnux (Black), who wants to use him to blackmail Khampa and gain entrance to Snow Mountain.  Fortunately, Bodi’s good nature wins him friends and support from two of the rock musicians he met in the park and even Angus’ robot butler, Oz, so he still has a chance to fulfill his dream.

     Rock Dog, directed by Ash Bannon, is well paced for children, is the right length, and uses mixtures of adventure, thrills, and emotional elements to tell a good story.  Music by Rolfe Kent is effective, especially the song, “Glorious” (composed, produced, and performed by Adam Friedman).

An engaging and well crafted cross-cultural animated film.

Grade:  B+                                    By Donna R. Copeland