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Reviews

“The Contestant” Spotlights Reality TV At Its Most Unreal

 

The Opening Night film of DOC NYC 2023 was The Contestant, a documentary about what I believe to genuinely be the most horrifying story to ever come out of reality television. If it isn’t, it’s certainly up there.

Fittingly, for a festival themed around real life stories on screen, this documentary is a fascinating and shocking look at how an ordinary man’s quest for fame went in a direction he could never have imagined. Some of you may know this story, but you haven’t heard it told like this. For the ones who don’t, you are not prepared.

All TomoakiNasubiHamatsu wanted was to be loved. Bullied over his looks growing up, he used humor as a defense mechanism, and aspired to be a comedian. So, in 1998, when he won the chance to be on the popular Japanese reality series Susunu! Denpa Shonen, he was elated. However, that enthusiasm was short-lived, as he soon found himself in a small apartment and stripped naked, for a segment entitled “A Life in Prizes.”

His challenge? To live off of nothing but sweepstakes winnings gained from the magazine rack in the apartment. This even included food. The challenge would end once he obtained One million yen worth of prizes. The resulting footage, he was told, would later be edited for use on the show once the challenge was completed. The door was also unlocked, so he could end the challenge at any time.

Nevertheless, Nasubi agreed, and began his bizarre challenge, keeping a diary along the way. However, as days turned into weeks, and weeks turned into months, the isolation started to drive him mad. What kept him going was determination, acceptance of his situation, and the possibility of TV fame. As it turned out, he ended up achieving the last one before too long, because the entire challenge was being aired on Denpa Shonen without his knowledge, to a weekly audience of tens of millions.

This story has been recounted numerous times online, but I haven’t seen anything with the amount of access that this documentary had. Featuring interviews with practically everyone involved, and a startling wealth of archival material, it’s about as in-depth as something like this will get. The footage of Denpa Shonen is genuinely harrowing, and honestly, hard to watch. Nasubi’s descent into madness is accompanied by frequent audience laughter, colorful graphics, and a comedic narration (which the filmmakers have had dubbed over with English language narration by Fred Armisen). It’s almost dystopian in its cruelty.

Equally fascinating and shocking are the interviews with series producer Toshio Tsuchiya, who comes across as a sort of twisted mastermind determined to not only make TV history, but unlock something about human nature. I’d compare him to Christof from The Truman Show, except, as the British production points out, this actually predated the film’s release by a few months.

There’s a lot that this documentary could’ve said about how this predicted the ethical issues of reality TV’s meteoric rise, social media, and viral fame, and I felt that more could’ve been said. However, as director Claire Titley said at the Q&A following the film’s screening, that wasn’t the story she wanted to tell.

Ultimately, this film is about connection, and it closes on a genuinely heartfelt note, showing how Nasubi used his celebrity to do something good. It’s also just as stranger-than-fiction as the rest of the film with a positive ending that I think is rare for a film like this. Ultimately, this is Nasubi’s story more than it’s about reality TV as a whole.

When the film ended and Nasubi came out on stage, the audience gave him a standing ovation that brought him to tears, and he graciously bowed to us. I could think of no better way to end the night or highlight the DOC NYC festival. The Contestant is a must-see for fans of insane media stories and is now streaming on Hulu.



Broadway Play Review—“McNeal” with Robert Downey Jr.

McNeal
Written by Ayad Akhtar
Directed by Bartlett Sher
Performances through November 24, 2024
Vivian Beaumont Theatre, 150 West 65th Street, New York, NY
lct.org
 
Robert Downey Jr. and the cast of McNeal (photo: Matthew Murphy-Evan Zimmerman)


After Disgraced, a critical self-examination of Islam in the 21st century; The Invisible Hand, which dramatized how Islamic terrorism and our money-obsessed world converge; and Junk, a sprawling but meticulous look at the roots of our current financial culture, Ayad Akhtar returns with his latest play, McNeal, about A.I. and ethical honesty that’s provocative and pertinent but a distinct dropoff from those earlier works.
 
American novelist Jacob McNeal (Robert Downey Jr. in his Broadway debut) has just won the Nobel Prize for literature and is finishing a new novel. His art is at its pinnacle, but his personal life is a shambles: his wife Jessica committed suicide, which his adult son Harlan (Rafi Gavron) blames him for. And, as the play starts, his doctor Sahra (Ruthie Ann Miles) admonishes him that, after decades of alcohol abuse, liver failure is imminent. 
 
However, McNeal treats his messy—and unwoke—personal life as a small price to pay for a successful career. When his loyal agent Stephie (the always lively Andrea Martin) secures a New York Times Magazine cover profile about his new book, McNeal flippantly raises the ire of his interviewer, the young, hungry Natasha (Brittany Bellizeare), by namedropping Harvey Weinstein, calling her a diversity hire, and generally acting like an arrogant, entitled prick. 
 
That he also brazenly stole from his dead wife’s unpublished manuscript and used ChatGPT to barf out reams of pages under his name unmasks the biggest flaw in Akhtar’s play. Although again choosing a subject ripe for dissection in our endlessly fragmented world—A.I. centers many breast-beating discussions about artistic originality and ownership—Akhtar has placed at McNeal’s center someone undeserving such a spotlight.
 
There’s intelligence, humor and occasional insight in McNeal, alongside a nagging feeling that Jacob McNeal himself could have been coughed up by ChatGPT itself. Epigrams from Sophocles and Nietzsche introduce the play’s script—too bad contrivance and caricature rule. When McNeal shockingly suggests Jessica’s love for Harlan may have been incestuous, this weird accusation is immediately dropped, unconvincingly making it just another example of how nasty McNeal can be. Downey, in his Broadway debut, infuses McNeal with a charming roguishness, but his sardonic edge is blunted by conventional writing. 
 
Bartlett Sher’s slick staging is dominated by Jake Barton’s excellent projections, which envelop us in the overwhelming virtual world. Barton also collaborated with Michael Yeargan on the sleekly clever set design, and Donald Holder’s exquisite lighting and Justin Ellington and Beth Lake’s inventive sound design also contribute to the frame that more effectively illustrates what McNeal has become than Akhtar’s script. 
 
Aside from Martin, the supporting cast is underutilized; even Gavron’s Harlan has one angry gear. By play’s end, these characters are reduced to hovering in the background, as in a meeting between McNeal and Francine (Melora Hardin), veteran Times reporter and Natasha’s mentor, with whom he had an affair. That scene, in which Francine berates McNeal for mining their intimate relationship for his book, feels like an uncertain, tacked-on attempt to give closure to a meandering story. McNeal is a rare misfire for a playwright who’s usually strongly attuned to our complicated present moment.

October '24 Digital Week II

In-Theater/Streaming Releases of the Week 
The Apprentice 
(Briarcliff Entertainment)
If you’re expecting this to be a risible takedown of Donald Trump—after all, the poster tagline is “An American Horror Story”—think again: director Ali Abbasi and writer Gabriel Sherman have, with some success, made an amusingly and terrifyingly entertaining ride through the beginnings of Trump World, when Donald hitched his wagon to the revolting Roy Cohen, eventually outfoxing the master himself.
 
 
There’s an authentic ’70s “NYC is dying” vibe whenever the material degenerates to mere melodrama or rom-com parody, but front and center are three on-target performances. Maria Bakalova is a razor-sharp Ivana, Sebastian Stan a surprisingly sympathetic Donald and Jeremy Strong an outsized, wonderfully villainous Cohn.
 
 
 
Omni Loop 
(Magnolia)
Mary-Louise Parker is her usual delightful self in this otherwise aggressively dull sci-fi fantasy by writer-director Bernardo Britto, who steals brazenly from Groundhog Day to create a silly story of a dying scientist with a black hole in her chest who hopes that time travel with cure her. (No—seriously.)
 
 
Parker and Ayo Edebiri (who’s so good in The Bear) have terrific chemistry, and Harris Yulin contributes a fun bit as an ornery old professor, but the movie spins its wheels in a desperate attempt to find Meaning, when simply lowercase coherence would be enough.
 
 
 
4K/UHD Release of the Week 
A Nightmare on Elm Street 
(Warner Bros)
Wes Craven’s 1983 horror entry has gained stature over the past four decades despite being mainly a crudely effective horror film about a teenage girl’s nightmares getting intruded on by the now-legendary Freddy Krueger, who enters the real world and starts a killing spree.
 
 
Craven directs with a sledgehammer, but it works for the most part, particularly the ending, which makes up for many other shortcomings (mainly the script and acting). Both the theatrical and uncut versions look excellent in UHD; extras are two commentaries, interviews, three featurettes and alternate endings.
 
 
 
Blu-ray Releases of the Week
Maxxxine 
(Lionsgate)
Writer-director Ti West and actress Mia Goth reunite for another go-round, this time following porn actress Maxine (from their 2022 collaboration X) looking for legitimate stardom as the lead in a Hollywood horror flick, circa 1985.
 
 
There’s an intriguing if contrived premise here, yet the problem is that West and Goth are so busy trying to evoke a specific era that there’s rarely room for anything original—it’s a jumble of nods to VCRs, pornos and slasher flicks, with amusing overacting by Kevin Bacon, Michelle Monaghan, Lily Collins, Elizabeth Debicki and Goth herself. There’s a fine hi-def transfer; extras include three featurettes and a West Q&A.
 
 
 
Meeting the Beatles in India 
(Unobstructed View)
Canadian director Paul Saltzman retraces his steps back to 1968 India, when he there at the same time as the Beatles during their legendary stay with the Maharishi—he took a series of intimate photographs of them that were forgotten for decades until his daughter discovered them, leading to this documentary about the importance of that earthshaking visit musically and in the world of meditation.
 
 
Saltzman interviews several individuals related to India (Patti Boyd) or meditation (David Lynch), and it comes across as self-indulgent, real Beatles fanatics (like me) will eat it up. The film looks quite good in hi-def; extras include nearly an hour of extra footage. 
 
 
 
The West Wing—Complete Series 
(Warner Bros)
When Aaron Sorkin was on, there was no better dialogue writer in TV, the movies and theater in the 1990s (remembering that his breakthrough play, A Few Good Men, opened on Broadway in 1989), as the first four seasons of this beloved series about a liberal White House filled with progressive idealism demonstrates.
 
 
Sorkin left after the fourth season, and the final three seasons get less interesting, even if Sorkin’s sanctimony is toned down—luckily, the complete series set has been packaged so that Sorkin’s seasons and the other three are in separate boxes. The buzzy cast is led by Martin Sheen, Allison Janney, Bradley Whitford and Rob Lowe. The series, whose 154 episodes are included on 28 discs, looks good in hi-def; extras include interviews, deleted scenes, making-of featurettes and commentaries.
 
 
 
Blu-ray/CD Release of the Week 
Def Leppard—One Night Only: Live at the Leadmill 
(Mercury Studios)
British rockers Def Leppard return to their stomping grounds for a 2023 benefit concert at the Leadmill nightclub in Sheffield, where they began more than 45 years earlier, for a raucous hour-plus set surprisingly heavy on earlier tunes—especially from their 1981 release High ’n’ Dry—alongside their anthemic MTV-era hits.
 
 
This version of the band still has four members from its late-’80s heyday, led by vocalist Joe Elliott, still in fine voice; vets Vivian Campbell and Phil Collen make up the blistering two-guitar attack. Best songs of the night are the pair of slow burners, “Too Late for Love” and “Bringing on the Heartbreak.” The entire concert is included on CD as well; the hi-def video and audio are topnotch.
 
 
 
DVD Release of the Week
Curb Your Enthusiasm—Complete Series 
(Warner Bros/HBO)
After 12 seasons over a quarter-century, Larry David’s irascible alter ego finally rode off into the sunset, always getting into as much trouble as he possibly can—nearly always self-inflicted, of course, but David was always self-aware enough not to care. For me, at least, a little of David’s clever but narrow observational comedy goes a long way, so most viewers’ comic mileage will obviously vary widely.
 
 
Still, there are many priceless moments throughout: the ultimate highlight for me will always be the first episode of the penultimate season 11, when Larry ruins Albert Brooks’ “living funeral” by discovering that Brooks has been (oh horror of horrors!) an unrepentant COVID hoarder of hand sanitizer and toilet paper. The 24-disc set includes all 120 episodes; the many extras include a gag reel, interviews and featurettes.
 
 
 
CD Releases of the Week 
Braunfels—Jeanne d’Arc: Scenes from the Life of Saint Joan 
(Capriccio)
German composer Walter Braunfels (1882-1954) is best known for his playful opera The Birds (1913-19), based on ancient Greek playwright Aristophanes’ play—along with other music by the half-Jewish Braunfels, it caused enough of a stir that the Nazis banned it. This opera, composed in 1938-43, is an often gripping account of Joan of Arc: war hero, convicted heretic burned at the stake, and eventual Roman Catholic saint.
 
 
The most memorable writing is for the chorus, especially in the final scenes of Joan’s death, while other sequences of Joan with the men she leads to battle and those who condemn her for heresy, are intelligently but conventionally written. This excellent recording is from a 2013 Salzburg production, with Juliane Banse as a strong Joan, the Salzburg Bach Chorus is in impressive form and Manfred Honeck conducts the Vienna Radio Symphony Orchestra in a fine reading of Braunfels’ serious, sober score.
 
 
 
Woolf/Vavrek—Jacqueline 
(Pentatone)
British cellist Jacqueline du Pre was legendary for her intensely emotional performances until multiple sclerosis cut her down in her prime—she died at age 42, in 1987. In Canadian-American composer Luna Pearl Woolf’s 2020 chamber opera, du Pre is represented by two performers, a soprano and a cellist, both embodying fractured aspects of Jacqueline’s life and artistry in an effective conceit captured by Royce Vavrek’s libretto.
 
 
In this captivating recording, soprano Marnie Breckenridge sings with honesty and intimacy, while Matt Haimovitz’s cello equals her in musical strength, making for quite a powerful duet. The main problem is that an audio recording presents only half the opera, as it were; video would allow us to see as well as hear the fascinating intertwining of singer and musician.

Concert Review—Suzanne Vega at Queens College

Suzanne Vega
Kupferberg Center for the Arts, Queens College, Flushing, Queens
September 27, 2004
suzannevega.com
 
Suzanne Vega at Queens College
 
When I first saw Suzanne Vega, on the 1987 Solitude Standing tour at Massey Hall in Toronto, I was struck not only by her pinpoint songs, which tell personal stories in a fresh and direct way with that crystalline conversational voice, but also by her natural stage presence and amusingly deadpan anecdotes, which were as illuminating as those sharply cutting songs.
 
That dual ability was still on display at Queens College’s Lefrak Concert Hall—the first time, the longtime Manhattan resident said, she’s ever played a concert in Queens, a borough she remembered as the destination for holiday visits to her aunt’s place in Jamaica—for a stop on Vega’s latest tour, titled Old Songs, New Songs and Other Songs
 
Although those of us who’ve seen Vega many times (this was my ninth time, in nine different venues in New York State and Canada—plus the two times I saw her perform off-Broadway, in Carson McCullers Talks About Love and Bob & Carol & Ted & Alice) have heard these stories before, she always makes them sound fresh and new, even when recounting for the umpteenth time the genesis of her lovely paean to young love, “Gypsy.”
 
Unsurprisingly, her durable “Old Songs” were the primary focus, right from the opening “Marlene on the Wall,” from her eponymous debut album and one of Vega’s signature tunes; Vega donned a top hat as she sang, in a tip of the hat to Marlene Dietrich. Next up were the bouncy title track from her 99.9 F° album and the somber ballad “Caramel.” Throughout the evening, as Vega alternated between playing acoustic guitar and simply singing, her longtime musical collaborator Gerry Leonard contributed both atmospheric and stinging lead guitar lines.
 
Gerry Leonard (left) and Vega
 
The rest of the show mixed songs from her debut (“Small Blue Thing,” “The Queen and the Soldier,” “Some Journey”), her two hits (“Luka” and “Tom’s Diner,” forever ruined by the NDA remix, like Clapton turning “Layla” into a comatose ballad) and a handful of songs from the ‘90s, 2000s and 2010s (“In Liverpool,” “Tombstone” and the haunting final encore “Rosemary”). 
 
Among the “Other Songs” was Vega’s surprisingly faithful cover of Lou Reed’s downtown classic, “Walk on the Wild Side,” which she has been performing live on several tours. The “New Songs” comprised two tunes, so new that Vega sang them reading from lyric sheets: the nicely observational “Speaker’s Corner,” which tackled free speech; and the sardonic but crudely metaphorical “Rats,” about rodents overwhelming New York City.
 
Among the many gems in Vega’s set, standing out was “Penitent,” from her criminally overlooked 2001 album Songs in Red and Gray, which had the misfortune of being released a couple weeks after the September 11 terrorist attacks. One of her most beautiful but heartbreaking songs about a broken relationship, it was performed with the mournful passion that is Vega at her most compelling. 

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