Interview with Festival Director Kristian Day (Interrobang Film Festival)

Presented as part of the Des Moines Arts Festival, the Interrobang film festival is three day multi-venue event taking place in the Des Moines East Village Neighborhood. The audience – whether cinema enthusiasts or curious newcomers – can experience curated screenings from films around the globe as well as experience hands on workshops, celebrity lectures, and industry parties.

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Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

Kristian Day: All of our juried films are free to the public. As a filmmaker myself, I hate the process of submitting to festivals. You spend lots of money submitting your films and then if you are selected, the audience has to pay to see them on top of that. Which doesn’t seem like a big deal, but I want to take the risk out of going to a film festival. If your film festival is not a buyers market, then at the very least you want to help guarantee an audience for the films that have been selected.

What would you expect to experience if you attend the festival this year (2017)?

For the first 9 years, the Interrobang Film Festival took place within the Des Moines Arts Festival. We have grown significantly and this year we have become a stand alone three day / multi venue event.

New additions this year:

Interrobang Film Challenge, a timed film competition similar to the 48hr Film Project that takes place the weekend prior and the films will then screen the weekend of the film festival.

Best of Show Award now includes how filmmakers market the film in our city. As most filmmakers know, once they are selected it is up to them to get people to come see their movie. I want to encourage old fashion showmanship. Fliers, parades, billboards, guerrilla marketing , whatever they need to do to get people in the seats! It is not only a big marketing tool for the festival but its fun for the city to have that experience. I give all the filmmakers every media contact in the city thats in my rolodex but they have to get more creative then just sending out press releases.

More parties. I don’t think young people have the attention span to sit and watch movies for hours like they used to. The Youtube generation likes things short, sweet and always moving. So we have a lot more non-screening events including a “Beers with Iowa Filmmakers” party and a cocktail hour with the Iowa Screenwriters Alliance.

What are the qualifications for the selected films?

I can’t say there is a specific qualification to select a film. There are obvious technical aspects I look for but I am always looking for something unique in each one. Sometimes I might watch it and think “this isn’t for me but I know there are definitely some people who will enjoy this”.

Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

Sure. The bigger festivals are very political and I get that. If they don’t have some celebrity attached or if it hasn’t created some controversial buzz behind it then they are not really interested in it. But good films find their way. That is one thing I have learned over the years. A good will won’t go unnoticed if the creators never give up.

What motivates you and your team to do this festival?

I work in the film industry full time. I commute from Des Moines, Iowa to LA several times a year. I do this festival year after year because some day I hope that I don’t need to commute to LA for work. I want to see the industry move into more third markets (areas that are not LA or New York) and to do that you have to continue to develop that culture.

From an Iowan perspective, Des Moines is the capital city. It deserves to have a great film festival.

How has your FilmFreeway submission process been?

Great. I love FilmFreeway! We used to use Withoutabox but to be honest it was super tedious, clunky, and convoluted. I like being able to watch films within the site and its easy for the judges to do their work within the system.

Where do you see the festival by 2020?

Buyers market is always the goal. But it could also just take its place among the other festivals like 80/35, 515 Alive, and the Des Moines Arts Festival: an annual event that everyone in the region looks forward to attending, Either way I would be very happy. I don’t actually want to run this festival forever, I do it because it needs to be run by someone who doesn’t want to be the center of attention. The filmmakers, the audience, and everyone who makes the festival what it is are the most important aspects. There are some programers who think that they are the heroes and this not the attitude I want to see. Also whenever I see someone post things like “Great things on the horizon” on social media I am immediately turned off.

What film have you seen the most times in your life?

Once Upon A Time In The West. This is the single greatest film ever made.

In one sentence, what makes a great film?

Charles Bronson, Claudia Cardinale, Henry Fonda, and Jason Robards are what make a great film. (See the answer to the previous question)

How is the film scene in your city?

It’s OK. We have several shows that film here but not many folks are properly trained to work on a real set. I am a 1st AD on a lot of projects and every time on Day 1 I run into either a camera operator or a sound mixer who hits record and yells “speeding” before I tell them to roll. I have to stop everything and explain to them that no one touches anything until I say so.

My dream would be that we would have people who could work on shows in bigger positions, not just PAs. That could happen but they just need to work more and have more opportunities to be trained.
 

 
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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

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Interview with Festival Director Michael McLaughlin (Disappear Here Film Festival)

The Disappear Here Film Festival is a first of its kind in Donegal, Ireland. The inaugural DHFF is a 3 day festival taking place in Ballyliffin, Co Donegal from (Culture Night) Friday 22nd September 2017.  Our versatile programme will include screenings, talks, educational workshops and a host of entertainment events through which we will provide a unique festival experience.

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Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

Michael McLaughlin: It is offering them the opportunity to have their work seen by an audience that wouldn’t necessarily get a chance to see it. It also gives them the chance to network and make connections with others working within the industry. Gaining feedback from an impartial audience is something that can be worthwhile, especially for those that are starting out in the industry. To showcase your work on a big screen, in an environment such as a film festival is a an excellent platform for all filmmakers to avail of.

What would you expect to experience if you attend the festival this year (2017)?

The festival is for anyone that loves films, as well as those working or considering working within the industry in the future. We are aiming to offer something for children and adults alike. Disappear Here Film Festival will be another opportunity for the people to get together and celebrate the creative talent on offer through the medium of film. There will be various art installations dotted around the village, allowing people to experience not only film but also, other forms of creative expression.

What are the qualifications for the selected films?

There are no set qualifications and we decided against running with a theme for this inaugural year. What we are after is film making that is engaging, that is entertaining and ultimately that challenges audiences, & makes an audience feel something.

Do you think that some films don’t get a fair shake from film festivals? And if so, why?

Yes, I would probably accept that, but obviously I can’t speak on behalf of other film festivals. Films that are maybe high quality and tick all the boxes in terms of one panel member, might be deemed exceptional while another might deem it average, meaning that some films get dropped and don’t make it to selection. Also programmers have a very specific programme duration for short films, so lots of longer short films cannot get shown. My advice to filmmakers making shorts, is to actually keep them short – below 12mins max.

What motivates you and your team to do this festival?

The film festival came about by a desire to showcase the talents of
independent film making in Ireland and to allow audiences in Donegal
access to films they wouldn’t ordinarily be able to see.

How has your FilmFreeway submission process been?

In a word, incredible. It streamlined the whole application and submission process. It allowed us to make direct contact iwhtdirectors to clarify any information during the submission process. It made the experience more seamless and less stressful.

Where do you see the festival by 2020?

As a major player not just on the national scene here in Ireland, but internationally as well.

What film have you seen the most times in your life?

True Romance! Loved the screenplay by Tarantino and it’s one of Tony Scotts best as far as I’m concerned. Also, like everyone else I fell in love with Alabama, just a little bit!

In one sentence, what makes a great film?

A great film needs to be always entertaining, never ever boring.

How is the film scene in your city?

Getting better all the time! Lots of great filmmakers, crew & locations that have to be seen to be believed! Actually Star Wars- The Last Jedi filmed here last year, so we can’t wait to see our area showcased for an international audience in that film.

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

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Interview with Festival Director Barry J. Gillis (Edmonton Festival of Fear)

This is a great opportunity for Filmmakers World Wide to Submit their Films. Plans are already in the works to expand the Edmonton FESTIVAL OF FEAR for 2018, and beyond.

Interview with Festival Director Terrence Sanders (Platform Film Festival)

Platform Film Festival’s mission is to celebrate the masters of filmmaking and discover the next generation of innovative creatives. Platform is the connective tissue that bonds the wondrous union between art and film. PFF will present an uncensored view of the World through the most important and relevant artists and filmmakers creating 2D and 3D work without fear, monetary incentives or artificial borders. PFF is a creative forum where like minds can have a sense of community being celebrated by the publlc-at-large and their contemporaries.

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Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

Terrence Sanders: Platform Film Festival mission is to provide a necessary platform for filmmakers in hopes of creating a greater awareness for important films.

What would you expect to experience if you attend the festival this year (2017)?

TS: Eclectic programming with an artistic bend. Films that entertain and educate. New discoveries that will resonate with the viewer long after they leave the venue.

What are the qualifications for the selected films?

TS: Voice, substance and vision.

Do you think that some films don’t get a fair shake from film festivals? And if so, why?

TS: It’s a power struggle whenever money is part of the equation. Each film submitted is competing for exposure and notoriety. Each jury favors a different trend, celebrity, subject matter or theme on a yearly basis. What’s favorable this year might not be favorable the next. Sometimes the unknown underdog is the winner and most times whether we like it or not it’s the financed studio favorite.

What motivates you and your team to do this festival?

TS: The love of the medium. I owe everything that I am today to the transformative power of cinema. I want to share great films with my audience.

How has your FilmFreeway submission process been?

TS: It’s been great. We were going to partner with Withoutabox but the process was complicated to say the least. Filmfreeway was simple and personable. It was a great fit. I hope to grow with this company and community.

Where do you see the festival by 2020?

TS: Joining the list of respected, important and relevant film festivals in the World.

What film have you seen the most times in your life?

TS: I’m a film freak. I have literally watched 5 movies a day for that last 25 years. I’ve seen everything. A few favorites are; The Life Aquatic with Steve Zissou, The Libertine, A Pure Formality, The Royal Tenenbaums, Blue Caprice, Ballast, O Brother Where Art Thou?, In the Mood For Love, Maderlay, I’ll Sleep When I’m Dead, Gangster No. 1, etc.

In one sentence, what makes a great film?

TS: Three words: writing, cinematography and performance.

How is the film scene in your city?

TS: I live in Los Angeles – what do you think?

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

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Interview with Festival Director Sarah Marshall (Bluenose-Ability Film Festival (BAFF))

Bluenose-Ability Film Festival (BAFF), is Atlantic Canada’s first and only disability focused film festival for adults and youth. Our festival’s taking place Thursday, November 30 through Sunday, December 3, 2017. We’re excited to announce that our theme is Celebrating 150 Years of Diversity, in honour of Canada’s 150 Years of Confederation.

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Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

Sarah Marshall: The Bluenose-Ability Film Festival (BAFF) is Atlantic Canada’s first and only disability-focused film festival. We, therefore, offer a unique and open platform for filmmakers to express themselves. Our culture of inclusion allows filmmakers to portray their experiences and perceptions of disability culture in an open and accepting environment.

What would you expect to experience if you attend the festival this year (2017)?

This year, you can expect an inviting environment, tons of local and international films, specialty screenings (Such as LGBTQIA+,) a mental health discussion panel, and a glamourous awards gala. This is our third year of operations, and we’ve just undergone a bit of fine-tuning and rebranding. We aim to deliver a modern, unique experience to our community.

What are the qualifications for the selected films?

This year, our theme is “150 Years of Diversity,” in honour of Canada’s 150th birthday. Films must fit with this theme. Diversity is a broad word – we’re seeing films about disability, mental health, immigration, and personal journeys. If the film isn’t directly related to the theme, we ask that the filmmaker be from a diverse background. Other than that, we ask that films be under the 25 minute mark. We also look for technical excellence such as a well-written script, thoughtful cinematography, and good music selection. We, however, have different award categories for all levels of filmmakers. Youth can submit films into their own category. We think it’s important to give new filmmakers an opportunity to tell their stories.

Do you think that some films don’t get a fair shake from film festivals? And if so, why?

I think that some film festivals ignore work from inexperienced filmmakers and miss out on some important messaging. We offer a community of growth and support to new filmmakers, and offer year-round Future Filmmaker workshops to youth who wish to improve their skills. We also have youth categories so less experienced filmmakers get a chance to rule their own section of the festival.

What motivates you and your team to do this festival?

Our main motivation is to provide a unique and creative platform for the disability community to share their stories. There’s a huge lack of diversity in the mainstream film industry. We want to encourage people from all backgrounds to participate in film culture. Our festival encourages disabled actors/actresses to play their own parts, and for diverse filmmakers to tell their stories and experiences without judgement or biases. We also have a scripted category that allows creative individuals to share their own crafted stories.

How has your FilmFreeway submission process been?

It’s been pretty wonderful. We receive tons of submissions, and they’re very easy to assess and download through FilmFreeway. It’s also easy to get in touch with the filmmakers.

Where do you see the festival by 2020?

We’d like to expand our attendance and strengthen our relationships with our supports and sponsors. We’d also like to add a few more members to our team. All in all, we just want to see BAFF get bigger and better each year!

What film have you seen the most times in your life?

I’ve watched “The Butterfly Effect” an unreasonable amount of times. Something about the flashback effects and the twisted plot makes me hang on to my seat every time. I’ve also watched the entire “Breaking Bad” series more than once or twice. The cinematography is absolutely stunning.

In one sentence, what makes a great film?

A unique, engaging story paired with thoughtful artistic choices.

How is the film scene in your city?

There’s a few other film festivals around and quite a booming industry for filmmakers in Halifax, Nova Scotia. There’s college programs nearby for film students, and lots of opportunities for filmmakers to showcase their work. BAFF, however, is the only FREE film festival you can find in Halifax. We made the decision to be a free festival so we can be inclusive and accommodating to our entire community. We want to share film culture with everyone, regardless of background or barriers.

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

SUBMIT your TV PILOT Screenplay or TV SPEC Script
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Screenplay CONTESTSUBMIT your Short Screenplay or FEATURE Script
FULL FEEDBACK on all entries. Get your script performed

Film Review: TULIP FEVER (UK 2016) **

tulip fever.jpgAn artist falls for a young married woman while he’s commissioned to paint her portrait during the Tulip mania of 17th century Amsterdam.

Director: Justin Chadwick
Writers: Deborah Moggach (screenplay), Tom Stoppard (screenplay)
Stars: Alicia Vikander, Dane DeHaan, Jack O’Connell

Review by Gilbert Seah

The press is having a field day with the news of the new film TULIP FEVER based on a scandalous affair set in 17th Century Amsterdam. When the film critics were asked to sign an embargo for their reviews to appear no earlier that 1 pm of Friday, the film’s opening day, something must be afloat. The film was expiated to be awful. In addition, rumours were going around that TULIP EVER had been siting on the shelves for 3 years.

To be fair to the film, the film was in production in 2014 and the film was scheduled for a 2016 release. So, the film was on the shelf for a year and not 3. As for the embargo, the studios have their reasons. The film is not that bad, though it is not that good either. Despite the film’s flaws, it is quite watchable and pleasant viewing.

For one, the film has an impressive cast that includes Oscar Winner Judi Dench, hardly recognizable in cloister apparel. She is the Abbess who specializes in growing tulips. The film also stars rising start Alicia Vikander, Dane DeHaan, Jack O’Connell and Christoph Waltz. This is Waltz in his strangest role not as an antagonizer but as a victim of various plots. DeHaan, who has become quite the household name now with this third big expensive flop in a row after A CURE FOR WELLNESS (in turn quite a good film despite flopping at the box-office) and the same could be said for VALERIAN.

The film is told from the point of view and voiceover of a maid, Maria (Holly Grainger). She works hard for her mistress Sophia (Vikander) who was bought from the orphanage for a wealthy Cornelis (Waltz) who is desperate to have a son. Maria has an affair with a fishmonger (O’Connell) who delvers fish to the household. Sophia has an affair with a painter, Van Loos (DeHaan) behind Cornelis’ back. When Maria becomes pregnant ,s he blackmails her mistress as she knows of Sophia’s affair with Van Loos. Sophia decides to have Maria’s baby as her own to fool her husband. Complications arise in this complicated tale of deceit, with tulip truing brought into the picture.

It is are to market a film in which those who plot and have various affairs flourish and the poor faithful and believing husband doesn’t. He ends up, forgiving his transgressors and even grating them his residence.

The film is set in Holland, in the 17th century when tulips were the talk of the town. Business people were trading on tulips, very similar to the stock market at present. As expected, while many may make their fortunes, oner less fortunate ones stand to lose everything.

TULIP FEVER benefits from an interesting though hardly credible story. The period setting in Amsterdam helps too, despite the film shot totally in English with largely English and European actors. TULIP FEVER ends up an interesting failure. It costs only $25 million to make, so it might just make a little profit.

Trailer: https://www.youtube.com/watch?v=5RpGTBnf158

TIFF 2017 Movie Review: CALL ME BY YOUR NAME (France/Italy 2017) **1/2

CALL ME BY YOUR NAME.jpgSummer of 1983, Northern Italy. An American-Italian is enamored by an American student who comes to study and live with his family. Together they share an unforgettable summer full of music, food, and romance that will forever change them.

Director: Luca Guadagnino
Writers: James Ivory (screenplay), André Aciman (based on the novel by)
Stars: Armie Hammer, Timothée Chalamet, Michael Stuhlbarg

Review by Gilbert Seah

The gay coming-out story CALL ME BY YOUR NAME arrives at TIFF after rave reviews from its Sundance and Cannes premieres.

It boasts the direction of Italian auteur Luca Guadagnino ( I AM LOVE and A BIGGER SPLASH) and a script by James Ivory. The film explores the tender, tentative relationship that blooms over the course of one summer between a 17-year-old boy on the cusp of adulthood, Elio (Timothée Chalamet) and his father’s research assistant, Oliver (Armie Hammer).

The father is American professor Perlman (Michael Stuhlbarg) and each summer, the professor invites a doctoral student to visit and help with his research. While Elio has a beautiful girlfriend who takes up most of his emotional time, he also finds a growing physical attraction to the visitor.

The film is a major disappointment being all good-looking on the outside and feeling like a fairy tale, neglecting the downers of coming-out gay. Things never turn out this perfect in any gay coming-out story. The film feels even more awkward as Elio looks way under below the age of 18.

Trailer: https://www.youtube.com/watch?v=3AMgliTBFKU

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TIFF 2017 Movie Review: LOVELESS (Russia/France/Germany/Belgium 2017) ****

Movie Reviews of films that will be playing at TIFF (Toronto International Film Festival) in 2017. Go to TIFF 2017 Movie Reviews and read reviews of films showing at the festival.

 loveless.jpgA couple going through a divorce must team up to find their son who has disappeared during one of their bitter arguments.

Director: Andrey Zvyagintsev
Writers: Oleg Negin, Andrey Zvyagintsev
Stars: Maryana Spivak, Aleksey Rozin, Yanina Hope

Review by Gilbert Seah

Russian director Andrey Zvyagintsev’s latest film of a boy gone missing, is one that appears simple on the surface but is in reality an extremely powerful film on the tragedy that emerges from the result of a lovelessness. When the film begins, Boris and Zhenya are in the midst of a nasty divorce.

They still live together which makes matters worse. In one of their fights, they argue that their 12-year old boy, Alyosh was a mistake. Neither one wants custody of the boy and the father remarks that he best be sent to boarding school, in preparation for the army afterwards.

She says she never wanted him in the first place. The boy, meanwhile, in the film’s most moving scene is shown crying his eyes out, after hearing what has been said by his parents. He is clearly, in his opinion unloved. He disappears. Boris and Zhenya are forced to come together to search for their missing son.

One can only wonder where their love (if ever they had any) had gone. Zvyagintsev explains in one scene that this love never existed in the first place. Meanwhile Zhenya has another man while Boris another woman. They do not find the boy but life must go on.

LOVELESS is a powerful film that instead of showing the power of love, shows the opposite, how life cannot survive with love.

A terrific movie that won the Jury Prize at Cannes!

Trailer: https://www.youtube.com/watch?v=mLegoO4NdD8

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Film Review: SWISS ARMY MAN (2016) “Gems you may have missed!”

SWISS ARMY MANA hopeless man stranded on a deserted island befriends a dead body and together they go on a surreal journey to get home.

Directors: Dan Kwan, Daniel Scheinert
Writers: Daniel Scheinert, Dan Kwan
Stars: Paul Dano, Daniel Radcliffe, Mary Elizabeth Winstead

by Kierston Drier

This issue of Gems You May Have Missed is all about unlikely heroes, psychological breakdowns and dead bodies with magical boners. Yes. I said that.

SWISS ARMY MAN is a rare beast of a film. Written and directed by Daniel Kwan and Daniel Scheinert, and released in early July 2016, this piece requires commitment to your distension of disbelief. But if you can jump that hurdle, the film pays off big in the realm of emotional dividends and offbeat humor. Really offbeat.

Hank (Paul Dano), a nondescript everyman with a healthy dose of melancholia acts as our unlikely hero, when we find him at the opening of the film, stranded and starving on a desert island. He is about to hang himself when Manny (Daniel Radcliff) washes up on shore. Desperate for human contact of any kind, Hank forms an emotional and slightly creepy attachment to our dead friend. Believing that the appearance of Manny must be a sign, Hank drags the corpse off the beach and begins the long trek to seeks help and a way home.

The film starts on a dark note but quickly spirals through dark comedy and into a strange, but loveable hybrid of genre all its own, when Radcliff’s character Manny begins to talk. Not only talk, but also perform life saving tricks for Hank- like gush fresh water from his mouth, use his erection as a north-pointing compass, and, wait for it, fart so powerfully that he can work as a human motor boat. Hank and Manny form a bizarre bond of friendship, compassion and an utterly fresh take on instrumental friendship, as they must work together to get back to civilization.

It is hard to explain what makes SWISS ARMY MAN such an incredible cinematic experience. It boasts gorgeous, lush cinematic visuals, beautiful art direction and breathtaking cinematography. It is also largely a two-hander which means huge applause must go out to both Dano and Radcliff for engaging and grabbing performances. While both actors do a fantastic job in their roles, a special nod must be given to Radcliff who, has the added challenge of conveying a depth of character while still managing to pull of character that is, well, dead. The script is quirky, emotional and vibrantly original. But what makes SWISS ARMY MAN a real gem, is how startling unique it is. There is simply no film quite like it.

A viewer can watch this movie and feel a vast array of feelings- confusion, absurdity, hilarity, sorrow, compassion, concern and disbelief all within an hour and half. We never really know if we are watching a metaphor, one man’s delusion, or a strange world where anything-can-happen. But we feel something. The feeling may be complex and confusing but it is undeniably authentic. You may need to let go of logic and reason and strap yourself in for this roller-coaster of a film, but it is worth every minute of the ride.

Film Review: BIRTH OF THE DRAGON

birth of the dragonSet against the backdrop of 1960s San Francisco, BIRTH OF THE DRAGON is a modern take on the classic movies that Bruce Lee was known for. It takes its inspiration from the epic and still controversial showdown between an up-and-coming Bruce Lee and kung fu master Wong Jack Man – a battle that gave birth to a legend.

Director: George Nolfi
Writers: Stephen J. Rivele, Christopher Wilkinson
Stars: Billy Magnussen, Yu Xia, Philip Ng

Review by Gilbert Seah
 
Premiering last year at the Toronto International Film Festival at a running time of 103 minutes, this shorter version is a re-cut version, according to the film publicist that now runs a 10-minute shorter version. I had not seen the original version but a colleague of mine at the press screening had seen both, remarking that the re-cut version is an improved one. Which is not saying much – since BIRTH OF THE DRAGON is still not a very good movie.

The end credits say that the film was based on a Bruce Lee article: ‘Bruce Lee’s Toughest Fight’. In other words, the film was inspired by true events. The setting is 1964 in San Francisco, where a real fight took place between Bruce Lee, 9 years before his fame and making of his first movie and a monk named Wong Jack Man. The question then is who won the fight. Since this film is about Bruce Lee, and not the monk, one assumes that Lee won the fight, or why make a movie if he lost the fight. But the script has more up its sleeve.

The film opens with a monk (Xia Yu) fighting in a province of China, which the title claims is the place of birth of Kung- Fu martial arts. The monk is said to travel to America to learn how Kung Fu has been taught there. It has been taught a great deal by Bruce Lee (Philip Ng), then and shown to be a conceited and proud instructor, though his intentions are respectable. The two fight in a competition with a plot that is supped to cause a girl to be enslaved unless there is a clear winner. So, one of Lee’s pupils, a hot-headed Mack (Billy Magnussen, BRIDGE OF SPIES, INTO THE WOODS and the recent INGRID GOES WEST) decide to save her. The two fighters combine their efforts to save the girl, but unfortunately they are unable to save the movie.

The film is aimed strictly for Bruce Lee or Kung Fu fans. Main actor Ng who plays Lee suits the part, with a chased body much like Lee. Ng’s mannerisms (body stances, sounds) down to his face twitching resembles Lee too.

According to my colleague who had seen the original film, the original was centred on the white man, Mack, who is given a less impotent role after the film’s major re-cut. This makes more sense in that no one be satisfied paying good money to see a Bruce Lee story than end up with a film with a white man story. The white man plot is now reduced to a subplot with him in a minor supporting role ending up in hospital, though Mack does get his (Chinese) girl.

BIRTH OF THE DRAGON aims high in revealing the fact that Bruce Lee changed his style of fighting and became the man he did, as a result of the fight – thus he film title BIRTH OF A DRAGON. This might be true but the film is still quite the mediocre film.

Trailer: https://www.youtube.com/watch?v=SL7OfxJo2oA
 
 

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