Here is a good example of what can happen when a respected European director, who appreciates aspects of American culture, makes an American film that is dumped onto DVD by its (independent) US distributor and castigated by fans of US genre films. What’s worse in this case is that the film is an adaptation of one of the best books by a celebrated American writer of genre fiction and that the film features a stellar cast. It’s hard not to feel that a lot of people are not getting the respect they deserve because there are far too many ‘tunnel vision’ Hollywood fans out there. On the other hand, the distributor may have been right to foresee problems – but why did they put up money to help finance the film and agree to a distribution deal then? It’s likely that the film would have done better in a French language version. In fact, I don’t know if it was dubbed in France – where most of the tickets were sold.
In the Electric Mist is an adaptation of James Lee Burke’s novel In the Electric Mist with Confederate Dead, first published in 1993. It is the sixth story about Louisiana police detective Dave Robicheaux. The novel series has recently seen its twentieth entry (and these are not short novels). Shooting began in 2007 and updating the story to a post-Katrina world was just one of the changes to the novel made by co-writers Jerzy Kromolowski & Mary Olson-Kromolowski. Bertrand Tavernier initiated the project for his own company, Little Bear, with the American producer Michael Fitzgerald and the backing of the French TV channel TFI. Tavernier directed the film himself and it was shot by Bruno de Keyzer. Tavernier is one of the most ‘outward-looking’ of auteurs in France. He is one of the few French filmmaker-critics to have had kind words for British Cinema and he has made films in both the UK (Death Watch 1980) and the US (Mississippi Blues 1983) earlier in his career. He has a previous US crime fiction adaptation to his credit with Coup de torchon (France 1981), a successful film based on Jim Thompson’s notorious 1964 novel Pop. 1280.
There are two real issues at stake in the reception of In the Electric Mist in the US (and UK). The first concerns James Lee Burke and the second the US audience’s take on Tavernier’s approach. As I’ve indicated Burke is a prolific and celebrated writer. His website is unusually commercial for a writer (it offers ‘JLB’ merchandising!) but also presents his array of publications. As well as the 20 Robicheaux novels there are 9 novels about characters in the Holland family of lawyers and Texas Rangers and a further 5 ‘standalone’ novels plus collections of short stories. Over the years I’ve read many of the novels and I recently read The Wayfaring Stranger (2014), one of the ‘Holland Family’ stories set in the late 1940s. I enjoyed it very much and it was this reading that sent me back to thinking about In the Electric Mist. Burke’s strengths are his detailed descriptions of a range of memorable characters, his deep knowledge of the history of communities in Louisiana, Texas and now Montana and his commitment to what in the US are seen as ‘liberal views’. Each of Burke’s protagonists are ‘decent’ men with fatal flaws (often involving alcohol and a disregard for ‘proper’ procedures). All these protagonists seem to have had colourful childhoods and to be steeped in those community histories with strong commitment to forms of natural justice – i.e. against bigots, racists, fascists etc. – usually driving the narrative. The US book-buying public is large enough to allow Burke to have developed a significant readership who agree with (or at least tolerate) his politics. But what about the cinema audience? IMDB has comments by some of the right-wing trolls that Burke must recognise he attracts. More of a problem for me is that most of the narratives have a very familiar structure as well as familiar characters. Burke’s heroes often know the villains because they grew up with them. And they are also vulnerable because the villain invariably attacks/abducts the hero’s partner/children/parents etc. I can enjoy the novels as long as I have a big gap between reading them. Even so, like many others, I think they are all filmable and I’m surprised there haven’t been more adaptations. The only others I’m aware of are the 1996 Heaven’s Prisoners with Alec Baldwin as Robicheaux and a TV film of Two for Texas (1998) with Kris Kristofferson, a historical narrative featuring one of the Holland family. (There is also a 2015 short film based on a Burke short story, Winter Light.)
The relative lack of adaptations must have meant some anticipation for In the Electric Mist. Tavernier took a great deal of care in casting the film and in selecting locations. He took what is a broadly European approach and tried to cast actors from the South – and as far as possible from Burke’s ‘narrative territory’. Robicheaux is played by Tommy Lee Jones from Texas, his wife Bootsie by Mary Steenburgen from Arkansas. Other actors include Ned Beattie from Kentucky, John Goodman from Missouri (but living in New Orleans) and blues singer and guitarist Buddy Guy (born in Louisiana). Levon Helm from Arkansas plays the Confederate General Hood. Characters speak in thick accents using cajun French creole and other local speech forms. The music includes several zydeco tracks (the Black version of Cajun music) by Clifton Chenier. I can see this might cause problems and I switched the English subs on to watch the UK TV broadcast.
Allied to the use of language, Tavernier composes several scenes in long shot to create a rather different pacing for what viewers might assume is to be a typical crime fiction film. Most alienating of all, the script doesn’t ‘explain’ much – the audience has to pick up the clues. The plot involves the usual James Lee Burke ingredients. The action takes place in Iberia Parish where the ‘reformed’ alcoholic Robicheaux is a police officer who also runs a local bait shop and fishing operation. Three seemingly separate narratives develop. Robicheaux himself begins to see and then interact with a group of apparitions – a band of Confederate soldiers led by Texan General Hood. This is an example of the historical liberties Burke allows himself. Levon Helm was far too old to play the real Hood, who didn’t move to Louisiana until the Civil War was over. Robicheaux also ‘remembers’ seeing, as a child, a shackled Black man being shot running away from a police officer. This is prompted by the discovery of a skeleton with shackles which is ‘unearthed’ by Katrina’s floodwater. Robicheaux is officially involved in the investigation of the murder of a young bar girl. Finally, the local community is also disrupted by the arrival of a film crew (with John Sayles in a cameo as the director). Robicheaux’s bait shop is attractive to the film’s star (Peter Sarsgard) a frequently drunk young man who rent’s Robicheaux’s boat with his girlfriend (Kelly McDonald). Robicheaux is suspicious because of the involvement of a local gangster Julie Balboni (John Goodman) as an investor in the film. Robicheaux has known Balboni since childhood.
It’s an interesting story with unusual ingredients. The cast are all terrific, the film looks good and the music is great. I wish I could have seen this version in a UK cinema (but I’m grateful for the subs on TV). Many European audiences and filmmakers really love the best of Hollywood. Unfortunately the admiration is not always reciprocated. If you get the chance, try to see the full-length version of this film.
I’d heard many good things about Greta Gerwig and specifically about Frances Ha (US 2012) but so far I hadn’t seen any of her films. On this basis I decided to watch Maggie’s Plan. The smaller Cinema 2 at Cardiff’s Chapter Arts Centre was nearly full for an early evening show. Perhaps that isn’t surprising. Released through Sony Classics, Maggie’s Plan had what was once a standard specialised cinema release on 80 screens across the UK & Ireland and entered the Top 15 with a £100,000 on its first weekend. Is this an example of the new form of acceptable arthouse cinema for middle-class audiences in the UK?
Greta Gerwig is Maggie, a New York university teacher in her late twenties who has decided that she wants a baby, but doesn’t want a long-term lover/partner/husband because she doesn’t think she can sustain a long-term relationship. Her ‘plan’ involves self-insemination with sperm from a donor she knows but the plan is immediately jeopardised by a meeting with John, another teacher played by Ethan Hawke. He is in turn married to Julianne Moore as a Danish lecturer with a comedy European accent and hair drawn tightly back. Hawke’s teacher is an aspiring novelist teaching ‘ficto-critical anthropology’. His wife is rather more prestigious in the same field and she has tenure at Columbia plus a distinguished publications record. Maggie initially seeks to help him with his first novel. She has two close friends, Felicia and Tony, a couple with a small child who are ‘quirky’ in their behaviour but otherwise quite together and they are the foil for Maggie’s encounters with the Hawke/Moore characters.
The Hawke character immediately evokes his other author roles in Richard Linklater’s ‘Sunset’ trilogy (with Julie Delpy) and in Pawel Pawlikowski’s The Woman in the Fifth (France/UK/Poland 2011). In each case he is an American novelist, but unfortunately in Maggie’s Plan Rebecca Miller’s script and direction don’t manage to keep the usually excellent Hawke within bounds. His acting style doesn’t match that of Greta Gerwig and I found his character insufferable. Probably though it’s his playing against Julianne Moore who seems to be in another film entirely, over-playing manically, that is the real problem. Again Ms Moore is usually very good, so script and direction seem to be the issue.
There isn’t much plot in the film so the narrative relies on sharp dialogue and performances. Fortunately, Greta Gerwig fits her role well and she is always entertaining to watch. Her costumes – mostly sensible shoes and woollens are suitable for a New York winter. Sometimes they look a bit ‘clod-hoppy’ but mainly her engaging personality pulls her through. Not conventionally ‘beautiful’, Ms Gerwig is very attractive because she is at ease with her body and allows her personality to shine. She is at the centre of the comic moments for me, but reading other comments, I see that some find these scenes don’t work and that opinion is equally divided on the snappy dialogue. Maggie’s Plan is ‘clever’ but I don’t think it is ‘cool’ or ‘smart’ (i.e. in the way that films like Ghost World (US 2001) were once described because of their appeal to a specific demographic). It’s been variously described as an ‘indie rom-com’ and a ‘screwball comedy’. The latter seems some way off the mark to me. The film ends with the possibility of something slightly sentimental. I should add that there are children involved in the various relationships – all of whom are well-written and well-acted.
Maggie’s Plan appears to be a film more loved by critics than by the general audience (Rotten Tomatoes scores it 86% for critics as against 66% for audiences) – but perhaps more so by a specialised film audience. People around me certainly laughed, but often at gags that I didn’t find funny. Conversely, I smiled at moments which didn’t evoke laughter at all. I read that the film could be bracketed with Shakespearean comedies and Woody Allen – neither of which I can claim to know/enjoy. Maggie’s Plan is doing well at the box office and it certainly offers entertainment. I’ll definitely look for more Greta Gerwig performances, but perhaps I’ll avoid this kind of New York comedy.
The US trailer (which reveals the rest of the plot):
Music documentaries appear in UK cinemas fairly regularly. Tonight I could choose between two and ironically the director of the one I didn’t choose was thanked in the credits of the one I did. However, I later discovered that Bayou Maharajah was actually on the festival circuit in 2013 and has had to wait three years for a release in the UK. It was worth the wait and it will play at various venues across the UK in the next month. See dates and venues on the Music Film Network website.
James Carroll Booker (1939-1983) was a New Orleans piano player who was considered a genius by the major musicians of the New Orleans scene – the ones featured in the film include Dr John, Irma Thomas, Neville Neville and the late Allen Toussaint. If you own any records produced in New Orleans between the early 1960s and the late 1970s, you will be able to hear James Booker backing the star name. Like many geniuses before him – and sadly many in the future perhaps – James Booker’s talent was difficult to corral and confine in a recording studio. His difficult early life left him with a propensity to develop a drug and alcohol addiction. He also had poor mental health, at some point lost an eye (various stories are recounted as to how this might have happened) and he was openly gay in the New Orleans bar scene of the period. But he could play piano (and alto and tenor sax) like an angel.
Bayou Maharajah is a conventional documentary by an inexperienced filmmaker. Lily Keber was working in a bar in New Orleans in 2006 when she first heard James Booker tracks on the jukebox and drinkers talking about Booker’s exploits. By 2010 she had raised $10, 000 on Kickstarter and started to collect material. Her documentary succeeds because, apart from having the enormous talent of James Booker at its core, the film does simple things very well. Keber has found Booker’s friends, admirers and colleagues and gathered interesting anecdotes. The talking heads are presented without gimmicks and the bulk of them are very engaging. Keber has also found archive recordings of Booker’s playing, sometimes on very degraded video material – and she hasn’t messed with the aspect ratios, hoorah! She’s also found high quality stills and she presents a mini master-class by Harry Connick Jr. (who became Booker’s eager pupil aged 12). Connick demonstrates the incredible keyboard techniques that underpinned Booker’s playing. As a non-pianist, I was very impressed. I suspect piano players will be suitably wowed.
It’s important in films like these to present at least one or two complete performances. That’s certainly the case here. Like too many other African-Americans of his generation, James Booker had to leave North America to find appreciative bookers and audiences in Europe. It’s interesting to see him appearing as a solo act in France and Germany. He appreciated the respect he was given in Europe but it didn’t encourage record companies in the US and he suffered badly from very low earnings for his session work on various recordings. Part of the problem was that Booker didn’t have a manager – no-one could manage him says one interviewee.
There is one almost avant-garde use of what I took to be ‘found footage’. A black and white film of one night at a New Orleans bar is speeded up to last only a few minutes as almost subliminal figures suddenly flash on screen. At the time I think I puzzled over what to make of this but on reflection it seems like an effective means of representing James Booker’s life in New Orleans. He was only properly appreciated by a few but his talent was such that his presence remains embedded in New Orleans music culture.
I never did find out why the film has the title ‘Bayou Maharajah’ but it fits somehow. James Booker could play everything from Chopin to jazz. Most of all though for me he captured that essential New Orleans sound and now I want someone to make a film explaining why New Orleans piano-playing is so distinctive – in both cultural and musical terms.
Here is the trailer plus a clip showing one of the archive performances. I hope these will convince you to look up this film:
Woody Allen is still making movies at nearly 80. Is that a good thing? Some directors make important films in their last decades. Ken Loach (the same age as Woody) has just won the Palme d’Or for an angry cry out against austerity and neo-liberalism, but Woody seems to just keep going without any real purpose except to just keep going. I’m making this judgement based on reviews I’ve read since I’d only seen one of his films, Vicky Cristina Barcelona in 2009, in the last twenty years before I caught his new film as a holiday treat. Despite a strong cast I thought that Vicky Cristina Barcelona was deeply flawed. Café Society has a similarly strong cast, but it is at least an enjoyable entertainment.
Opening Cannes this year, Café Society went straight into a French release. It offers us Jesse Eisenberg in a familiar role not dissimilar to the twin roles he played in The Double by Richard Ayoade. His character Bobby Hoffman begins as a shy, socially inept young man from the Bronx thrown into Hollywood society in the late 1930s and working for his uncle (Steve Carell) an important agent/wheeler-dealer. Bobby meets Vonnie (Kristen Stewart) his uncle’s secretary, falling in love and unwittingly creating a family problem as well as learning a whole range of new skills. Transformed by his Hollywood experience Bobby returns to New York and becomes a successful house manager at the night club owned by his gangster brother. Having been forced to leave Vonnie in Hollywood, the plot sets up the possibility of a later meeting in New York. But now Bobby is also able to woo other women in New York.
Allen riffs on two distinct genres that he has ‘played’ before. A musical analogy is not inappropriate since the setting is the period of Woody Allen’s early childhood and he fills the soundtrack with sublime music (matching the equally sublime cinematography of Vittorio Storaro) mainly performed by Vince Giordano and The Nighthawks. A New York Jewish family comedy-drama is melded with a romantic drama. Bobby also has an older sister married to a socialist ‘intellectual’. His mother is the driving force in the family with Ken Stott a surprising but pretty effective father in the background. The setting also brings to mind Some Like it Hot – and perhaps the Viennese comedies that Wilder himself was riffing on. Because of the gangster angle we get some very dark comedy moments but mostly Allen seems to be reworking material he’s done before. My interest in the film was mainly the chance to see the further development of Kristen Stewart as a compelling performer. I thought she was the standout in a very good cast. She manages to make believable a character who wears an alice band, white socks and short 1930s dresses but who is also clearly bright (a literature Masters) and more than capable of negotiating the twists and turns of Hollywood insider life. I suspect that in choosing a Barbara Stanwyck clip to set up Vonnie as a ‘player’, Woody Allen was going with Stewart’s own preference.
This was a pleasant way to pass 96 minutes. The story was interesting enough to engage us, the performances were all good and the technical credits were excellent. Woody Allen himself did the voiceover narration – which I know many people don’t like, but it worked perfectly for me. It was worthwhile Woody. As long as actors (young and old) want to work with you, there is still a market for films like this.
Here’s the French VOSF trailer: