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DVD Interview: "Paradise Lost" Director Joe Berlinger

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Parent Category: Film and the Arts
Category: Reviews
Published on Tuesday, 04 December 2012 15:00
Written by Kevin Filipski

Director Joe Berlinger

(photo: Michael Loccisano/Getty Images North America)
Paradise Lost Trilogy—Collectors’ Edition (4 DVDs)

Available from Docurama

Although it wasn’t until celebrities like Johnny Depp and Eddie Vedder got involved that the plight of the wrongly accused “West Memphis 3”—innocent teenagers sentenced for the grisly murders of three young boys in Arkansas—became national news, it was Joe Berlinger and Bruce Sinofsky’s Paradise Lost films that first brought attention to the miscarriage of justice.
Now, nearly two decades after the crimes were committed and a year after the men were finally set free in a bizarre “Alford Plea” deal in which they left prison even if evidence suggested guilt, the three films—Paradise Lost: The Child Murders at Robin Hood Hills, Paradise Lost 2: Revelations and Paradise Lost 3: Purgatory—are being released in a four-disc DVD set that includes bonus materials like additional interviews with the principals, Berlinger discusses the long period of filming the ever-shifting story and advocating for the “West Memphis 3.”
Kevin Filipski: After 20 years working on three films about the same charged subject, how does it feel to have finished the trilogy?
Joe Berlinger: Three films over nearly two decades—obviously we didn’t film every day, so I managed to do other things like raise a family and work on other projects. I was 30 when we started and 50 now. The reason we did the trilogy with all the bonus material on DVD is because it’s a great way to wrap the series in a bow: but there will be no Paradise Lost 4.

It’s now a crowded marketplace: Johnny Depp optioned Damien Echols’ memoir, Atom Egoyan is making a film, and there’s a new documentary, West of Memphis. It was an emotional and psychological journey to stick with this story for so long, and we felt an obligation to them until they got out of prison. I feel good about what we accomplished, and it’s time to move on.

KF: Can you explain how you felt about the case when you first began filming and how long it took for you to believe that the “West Memphis Three” were actually innocent?
JB: It’s ironic that we originally went to Arkansas thinking we were making a film about guilty teenagers: the first reports had it as “open and shut.” After months of digging into evidence and meeting the accused, we knew something was definitely wrong and were convinced of their innocence before the trial started. We were the contrarian voices: that everyone else was against them is an understatement. The press called for blood, and one story after another polluted the jury pool. But Paradise Lost didn’t come out right away—after we edited 150 hours of footage, it premiered at Sundance two years after they were put in prison in 1994. We agonized over their rotting in prison for two years—little did we know!

The film created a slow spark—we won awards but felt guilty getting pats on the back knowing they were in prison. Nobody did anything until Kathy Bakken, who worked for an ad agency doing the poster for Paradise Lost, saw it and started the website wm3.org. The long editing period helped the case in the long run: the internet was becoming a useful social media tool and her site attracted worldwide attention that exploded interest in the case, and many held protests to keep the case alive.

KF: What’s your take on the deal made so they could finally be freed from prison?
JB: It’s horrifying and extremely cowardly but—in a perverse way—a fitting conclusion. This story’s about the dark side of American justice and best and worst in human behavior. There’s overwhelming evidence that some involved in the case were more interested in protecting careers than acknowledging mistakes.

Jason Baldwin did not want to accept the plea but to save Damien’s life—he was on death row and in failing health—Jason went against his principles: he felt they’d be cleared but he accepted this bitter pill due to Echols’ predicament. Gross malfeasance went on in this case, along with a selfish justice system worried more about careers than the truth. Not only is it a moral injustice, it avoids prosecutorial liability and any unlawful conviction lawsuits. There’s no accountability and no financial resources were given to the men upon release, which is wrong.

KF: This case is still unsolved. How do you feel about that?
JB: One horrible result is that Arkansas is telling the victims’ families they are not finding the real killer. In the second film—the most flawed because it was advocacy in search of a story—we followed suspicions against Mark Byers (father of one of the boys), and the last film follows Terry Hobbs (stepfather of one of the boys), but we’re not saying anyone is the killer, only that authorities should investigate. I am certain, and the entire series speaks about, that these guys did not commit the crime and received a grossly unfair, imbalanced trial.

The biggest lesson for me is the utter immorality of the death penalty: not the usual argument about the state taking a life, but that the justice system is run by extremely fallible human beings who are subject to prejudices that make it impossible to apply it fairly. Clearly, without our films, Echols would be dead because he ran out of appeals: but in 2001, Arkansas passed a DNA statute which allowed him another chance. But it was extremely costly, and if he hadn’t had supporters, he would not have been able to mount an appeal. If a death penalty puts one innocent person to death, you can’t have it.

DVD Review: This Could Be Para-Para-Paradise

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Parent Category: Film and the Arts
Category: Reviews
Published on Sunday, 02 December 2012 16:00
Written by Abner Willis

coldplay live2012Coldplay
Coldplay Live 2012
(Capitol Records)

“Is there anybody out there?” asks a jubilant Chris Martin as he bounds every which way across the stage in front of his band, Brit-pop arena rockers Coldplay. 

There’s some irony to his question as he can barely be heard over 30,000+ screaming fans, the sort of crowd that greets him regularly in cities all over the world. 

This night fans have been issued multi-colored LED wristbands that light up in sync with the music, creating a beautiful and fluid digital mosaic best viewed from the birds-eye shots of the crowd seen throughout Coldplay Live 2012. The film documents the band’s world tour in support of their fifth album, Mylo Xyloto, released in 2011.

The 14-song LP is a colorful pop opus with a loose rock-opera-like storyline about art, music and love emerging in the face of a totalitarian society. 

Formed in 1996 at University College in London, Coldplay’s breakthrough single “Yellow”, a sparkling and melancholy power ballad, arrived a few years later. They released albums steadily throughout the following decade, winning many awards from multiple countries including seven Grammys.

Coldplay has become the biggest band in the world by transforming what could have been sentimental and cheesy into music that’s artful and moving. The quartet has done this through honest lyrics and an undeniable skill for crafting pop melodies and engaging arrangements.

Each Coldplay album comes with its own musical and visual aesthetic, one that is reflected in the band’s stage show. In the film, Chris Martin says that the image that inspired album’s theme was a flower growing out of a crack in the concrete. 

By the time this London-based ensemble hits the stage that crack has burst wide open. It dazzles the audience with color, sound, art, and an infectious vitality and joyfulness; it’s clear that the audience is having a blast. Massive spray-painted curtains hang behind the stage. Literally everything – the stage itself, the instruments, the members’ rag-tag band-of-soldiers army coats – is covered in multicolored graffiti-style designs and snippets of lyrics from their songs. 

 Audience member at any one of these massive shows would surely find the staging impressive, but would miss the details a concert film is able to highlight.

Director Paul Dugdale makes sure the film’s viewers experience every seat in the house – from the nosebleeds to front-and-center – and then some. Close-up shots of band members (guitarist Johnny Buckland, bassist Guy Berryman and drummer Will Champion) as well as the paintings on their instruments and the intricate designs on the stage enhance the experience and make it worth seeing even if – maybe especially if – you’ve seen it on tour.

Martin, who narrates parts of the feature, is very explicit about one point – Coldplay is not for cool kids. The band doesn’t buy into the “we’re so dangerous” mythos of Rock & Roll. And they don’t believe in oversized egos or smashing hotel rooms. 

The group believes in sing-alongs; their job is to bring people together and deliver the most spontaneous, exciting and joyful show they can every night. Quoting Bruce Springsteen, Martin says, “Every night could be someone’s first concert, it could be someone’s last. You have to play like that’s the case.”

And Coldplay does, as the film makes clear. Martin does laps around the stage, jumping, convulsing, and flailing his body in rhythm with the drums, falling to his knees in fits of emotion and even flopping on the ground in exhaustion after especially intense moments. He effortlessly transitions between vocals, keyboard, and guitar depending on the needs of a given song.

Buckland and Berryman are more reserved on their instruments but in their own quiet way look engaged and very present. Champion slams the drums with so much energy and drive that he almost comes across as a second front man.

The set list is as crowd-pleasing as the performance; they play what is essentially a greatest hits collection weighted slightly toward Mylo Xyloto.

Every few songs, (the concert footage is taken from various dates on their world tour but mostly in Paris) a band member narrates over scenes of band and crew traveling, checking into hotels, and setting up for the nights’ show. The interviews are interesting but not revelatory; they establish the band’s mission statement – delivering a killer, fun show unconcerned with coolness or posturing – but don’t delve deeply into their emotional lives. Behind the Music this is not. 

 In one section Buckland does talk about the helpless is-it-all-worth-it feeling of being a million miles away from home and getting a call that his child is in the hospital. This is about as dark or gritty as the band (or film) gets. And you get the feeling that after a bit of consideration, the answer is a resounding “yes.”

Martin says that throughout their career Coldplay has battled the addictions, breakups, and trouble that most bands go through. But he adds that he doesn’t see why in Rock & Roll those struggles should be celebrated or emphasized given that people in any line of work endure similar struggles. He has a strong sense of duty; his music should provide a service for the audience and be a conduit for human connection.

“This could be Para – Para – Paradise” goes the refrain of the most popular song from Mylo Xyloto, aptly titled “Paradise.” As the LED wristbands light up and the confetti flies, it feels like an invitation to the crowd – let yourself go, and we could all be there together. 

The adoring crowd hangs on his every word and movement, singing choruses back to him and cheering when he raises his hands. In smash hit “Viva la Vida” he sings, “I used to rule world” – but the song’s reception indicates Coldplay’s reign is far from over.

The band ends the Paris show with “Every Teardrop is a Waterfall”, a song about the redemptive power of art (specifically music) that holds pop songs to a very high standard. “I turn my music up/I got my records on…my heart starts beating to my favorite song…every siren is a symphony / and every teardrop is a waterfall”. 

Coldplay doesn’t back down from the challenge of making every person in the audience feel this transcendence; this transformation of the difficulties of life into the sublime. The 35-year-old front man says he performs for the audience member in the furthest back, top right-hand seat in the arena—and again, the concert footage backs him up.

Whether you’re a die-hard fan who’s seen them three times this year or someone who stays tuned when “Yellow” or “Clocks” comes on the radio, this cinematic document is worth a viewing. The sheer scale of the tour is awe-inspiring, and the concerts are filmed to great effect. 

 Most important, the band’s joyful attitude is infectious. 

Even if you’re a little skeptical about teardrops being waterfalls, I bet it’ll at least make you want to (to paraphrase that same song) put your records on and turn them up.

Music Reviews: Elvis for the Holidays

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Parent Category: Film and the Arts
Category: Reviews
Published on Sunday, 02 December 2012 12:50
Written by Lloyd Carroll

Elvis PresleyPresley-Prince-From-Another
Prince From Another Planet
(RCA/Legacy)

The Classic Christmas Album
(RCA/Legacy)

This is shaping up to be a joyous holiday season for Elvis Presley fans since RCA has just dug into its vaults and released two albums from The King: Prince From Another Planet and The Classic Christmas Album.

In June 1972 Elvis Presley was at a crossroads. He had wrapped up his film career and was trying to revive his recording fortunes. The musical landscape had changed dramatically since the days when radio programmers would automatically add a Presley single as soon as they received it. 

After becoming synonymous with the Las Vegas Hilton, there was some question as to whether Elvis could sell out big arenas such as Madison Square Garden.

Although he had performed in New York on both The Ed Sullivan Show and The Steve Allen Show in 1956 he had never given a full-length concert here until his decision to perform four shows 40 years ago at Madison Square Garden. 

Prince From Another Planet is a DVD/two-CD package that captures arguably Elvis’s most famous live shows although some may argue in behalf of his Honolulu concert that beamed worldwide in January 1973. The unusual title comes from a headline drawn from a music critic who reviewed the MSG show and obviously idolized Elvis.

The Madison Square Garden concerts gave equal doses of Elvis the rocker and Elvis the crooner. As is the case with any artist who has compiled a sizable catalog of hits, he deftly tried to walk the line between being contemporary and yet still giving oldies fans most of the big hits that they longed to hear.

The King opened the show with his first big hit, “That’s All Right,” and quickly segued into more contemporary fare as he covered Creedence Clearwater Revival’s “Proud Mary,” Three Dog Night’s “Never Been To Spain” (which was still on the pop charts at the time), and Tony Joe White’s “Polk Salad Annie.” 

Elvis made sure to give the Garden audience his Mount Rushmore classics as “Love Me Tender,” “Can’t Help Falling In Love,” “All Shook Up,” “Heartbreak Hotel,” and “Blue Suede Shoes.” “Suspicious Minds” got a humorous ad-lib when Elvis wisecracked, “No not much!” after delivering the emotional line of “You know that I’d never lie to you!”

Nonetheless, Elvis would have been better off skipping his dreadful version of “Hound Dog.” Ironically, John Lennon would perform the song the way Presley should have three months later on the Madison Square Garden stage in a fund-raiser to benefit the Willowbrook Children’s Hospital which had been exposed for its shoddy treatment of its  mentally disabled young patients by Channel 7 reporter Geraldo Rivera earlier in 1972.

The Las Vegas side of Elvis was on display in New York as he performed solid versions of Dusty Springfield’s “You Don’t Have To Say You Love Me,” Buffy Saint-Marie’s “Until It’s Time For You To Go,” and Ray Price’s “For The Good Times.”

Pop music historians will enjoy the DVD because it replays Elvis’s press conference at the New York Hilton the day before the MSG concerts. He was asked why he hadn’t recorded more rock songs recently. Elvis replied that he was having trouble finding good ones but did say that his next single would be in the rock genre. He was referring to “Burning Love,” which would be the last true smash that he would have in his lifetime. For some reason though he did not want to introduce the song at the Garden.

Christmas albums played an important part in why Rock & Roll became acceptable mainstream pop. Holiday classic-christmas-albumalbums were always the domain of old school vocalists as Frank Sinatra, Bing Crosby, Johnny Mathis and the like, but Elvis, the Beach Boys and Phil Spector put on a fresh coat of paint on Christmas classics, as well as making hits out of original holiday material.         

Elvis recorded numerous gospel albums in his career so it wasn’t a stretch to envision him putting his all into the “First Noel,” “O Come, All Ye Faithful,” and “Silent Night.” 

What’s often overlooked about his career is the success that he had on the rhythm & blues charts. His 1957 version of Irving Berlin’s “White Christmas” hews far closer to the 1954 Drifters record than it does the 1947 Bing Crosby hit. “Santa Claus Is Back In Town,” written by Jerry Leiber and Mike Stoller, the creative team behind much of his early success is a gritty, Chicago-style blues tune with a great honky-tonk piano intermezzo.

And of course you can’t think of Elvis and the holiday season without “Blue Christmas” coming to mind. Cheerful images of white snowflakes, decorations of red, and a green Christmas trees quickly turn blue because his girlfriend dumped him before the holidays. 

Elvis tries to be a good sport who isn’t bitter in the song but he isn’t fooling anyone and that’s precisely the point. It was one of the first  songs to admit that not everyone is jolly around the holidays.

December '12 Digital Week I

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Parent Category: Film and the Arts
Category: Reviews
Published on Sunday, 02 December 2012 05:00
Written by Kevin Filipski
Blu-rays of the WeekApparition Blu
The Apparition
(Warner Bros)
Todd Lincoln’s risible thriller clocks in at a mere 82 minutes, 10 of which are the final credits. What happens in the preceding 72 precludes logic and plausibility: but, you say, who knows how the supernatural really works? Certainly not Lincoln, who regurgitates many cinematic clichés and might even create new ones, like an ending that—along with being telegraphed on the Blu-ray cover—must be seen to be disbelieved.
Poor Ashley Greene screams and carries on annoyingly, which fits this charming actress like a pair of size 15 shoes. The Blu-ray image is good; extras include several featurettes.
Guys and Dolls
(Warner Bros)
Frank Loesser’s classic Broadway musical, adapted for the screen by director Joseph L. Mankiewicz in 1955, has much to recommend it—notably Loesser’s tunes and Abe Burrows’ hilarious book. But the leads are compromised: Frank Sinatra’s Nathan Detroit is not bad, neither is Vivian Blaine’s Miss Adelaide, but Marlon Brando looks uncomfortable as Sky Materston—he gets by on his unique charisma—and Jean Simmons seems equally ill at ease as Sky’s gal.
Still, the big set pieces (Michael Kidd choreographed) are marvelous, as is Harry Stradling’s Cinemascope camerawork. The Blu-ray image is top-notch; extras are featurettes and extended musical performances.
Harry Potter and the Deathly Hallows—Parts 1 & 2
(Warner Bros)
The interminable Harry Potter series finale—spread out over 4-1/2 hours—made legions of fans giddy with excitement, but for others, this chronicle of a young wizard, his friends and the villains they battle is less than scintillating.
Even with the cream of British acting royalty—Ralph Fiennes and Michael Gambon have meaty parts, but Maggie Smith, Jim Broadbent and Julie Walters are mere walk-ons—and good work by Daniel Radcliffe and adorable Emma Watson as Harry and Hermione, David Yates’ glacially paced movies are barely mediocre. The Blu-ray image is first-rate; extras include picture-in-picture explorations and bonus discs with hours of featurettes and interviews.
Heaven’s Gate (Criterion)
Michael Cimino’s 1980 western was a financial debacle but only partially an artistic one. His fictionalized version of the Johnson County War has some of the most beautiful images committed to celluloid—Vilmos Zsigmond is the master cinematographer—but this 3 hour, 36 minute epic’s puny characterizations cloud the visual brilliance on display.
For the Criterion Collection edition, a chance to give full context to what happened during filming and its opening was missed: there’s nothing about budgetary overruns and a disastrous premiere. Instead, interviews with Cimino and producer Joann Carelli, star Kris Kristofferson and composer David Mansfield discuss the film in a vacuum. It’s not good enough—despite the glistening Blu-ray transfer—to be labeled a classic.
Lawless
(Anchor Bay)
John Hillcoat’s drama of a trio of Virginia brothers’ rum-running enterprise during Prohibition is sporadically impressive, with taut storytelling, authentic visuals and excellent performances: notably Tom Hardy as the Kevin Costner-like eldest brother and Jessica Chastain, a rare American actress unafraid of nudity.
But a cutesy subplot about Shia Labeouf’s youngest brother and Mia Wasikowska’s love interest has contemporary portrayals out of step with the rest of the film. The hi-def transfer is superb; extras include a commentary, deleted scenes, featurettes and Willie Nelson music video.
Men in Black 3
(Sony)
The original smash sci-fi comedy hit’s second sequel is even more unnecessary than the first was—Will Smith and Tommy Lee Jones are sleepwalking throughout.
Making it more watchable is a deadpan Josh Brolin, assorted CGI monsters and a ridiculous, sentimental wrap-up. Of course, since there will likely be a third sequel from director Barry Sonnenfeld and his men, you’ve been warned. The Blu-ray image glistens; extras include featurettes, a gag reel and Pitball music video.
Paul McCartney—Live Kisses
(Eagle Vision/MPL)
Sir Paul’s superlative album of standards, Kisses on the Bottom, beat the likes of Rod Stewart at his own game: and with a crack band led by pianist Diana Krall and guitarist John Pizzarelli, his live versions have even more loving care. This hour-long concert is a once-in-a lifetime event, and Joe Walsh’s lovely acoustic guitar on Paul’s own contribution, the haunting “My Valentine,” is a must-hear.
The film looks terrific on Blu-ray; extras include six versions of Paul’s “My Valentine” video with a ravishing Natalie Portman and frumpled Johnny Depp, video making-of and interview with McCartney and producer Tommy LiPuma.
2012 World Series Champions—San Francisco Giants
(A&E)
The San Francisco Giants might have the beginnings of a baseball dynasty after capturing their second World Series championship in three seasons.
The official film of their run to the title includes highlights from the four-game sweep (the Detroit Tigers, fresh off pummeling the hated Yankees, went down as meekly as the Pinstripers did), along with Game Seven of the National League Championship Series, when they finished yet another fabled comeback against St. Louis. The hi-def image, of course, is splendid (sports was made for hi-def); other extras include more playoff highlights.
DVDs of the Week
Color Me Obsessed—A Film about the Replacements
(MVD)
This two-hour documentary about the Replacements—an underdog pick for “greatest rock’n’roll band”—might be too long for those who don’t hang on every thing Paul Westerberg and the gang said and done, but it’s still a fun ride. The premise is that, while other artists were selling millions, the Minneapolis boys stayed under the radar to make great, pure rock albums.
I’m no Robert Christgau fan, so hearing him pontificate pretentiously isn’t my idea of a good time, yet hearing from Husker Du’s Grant Hart compensates (but where the hell is Bob Mould?). For real fans, the second disc contains an additional three hours of interviews.
Inside John Lennon
(e one)
This 2003 documentary, narrated and written by Henry Stephens, makes trite use of public domain material to tell John Lennon’s story from his early life to 1980 murder.
How can you tell this won’t be particularly enlightening? Because those interviewed are John’s sister (who has little of interest to say), the Beatles’ chauffeur, Quarrymen members and a general manager at Apple. Despite John’s towering talent, it’s not a must-see Beatle portrait. Extras include additional interviews.
Natural Selection
(Cinema Guild)
Rachael Harris’ compelling presence as a woman whose life changes forever when she tracks down her estranged stepson gives this routine drama a tension otherwise lacking.
It’s too bad that director Robbie Pickering sets up a relationship that, despite being transformed by an unexpected event, remains quite ordinary instead of exceptional. All of this despite the genuine chemistry between Harris and Matt O’Leary. Extras include cast and crew interviews.
The Rolling Stones—Under Review, 1975-1983
(Sexy Intellectual)
Following an artistic desert after the Exile on Main Street album—which still included a Number One hit, “Angie”—the Rolling Stones replaced Mick Taylor with Ron Wood and went on a commercial tear: Some Girls, Emotional Rescue and Tattoo You followed in succession, along with huge, tri-annual tours.
The Stones’ pivotal eight years are recounted in a doc that assumes Rescue sucked, which is wrong. But what do rock critics know? Vintage footage of the boys live and in the new video medium is included, giving this unauthorized version the scent of authenticity. Extras include brief extra interviews.
CDs of the Week
Lalo: Le Roi d’Ys
(Dynamic)
One of the hidden riches of 19th century French opera, Edouard Lalo's 1888 drama has a trite libretto but its power comes from wonderful melodies and showcase arias for the leads, which this recording displays.
Eric Martin-Bonnet sings the title role with savoir faire, while Giuseppina Piunti and Guylaine Girard give the female roles serene beauty. The orchestra and chorus of the Opera Royal de Wallonie perform well under conductor Edouard Rasquin.
Silver Linings Playbook
(Sony Classical)
For David O. Russell’s audience-pleaser with Bradley Cooper and Jennifer Lawrence, the soundtrack is as eclectically mixed as its protagonists.
Alongside excerpts of Danny Elfman’s score, there’s a jumble of tunes from yesterday (Stevie Wonder’s “My Cherie Amour”) and today (“Silver Lining” by Jessie J), with little rhyme or reason linking tracks by David Brubeck Quartet, Bob Dylan/Johnny Cash and Eagles of Death Metal. Those who enjoyed the movie might get a kick out of hearing these songs again.

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  1. November '12 Digital Week IV
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  3. November '12 Digital Week III

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