Last Train Home 归途列车 [2009] • China, Canada

I recommend this "documentary" to everyone. There are glowing and heartfelt reviews of it aplenty, and I don't object to any of the ones I've read. The film made me cry and it stayed with me for a long time, but there is one thing that bothered me about it: its complete lack of any joy whatsoever. 

Last Train Home is nominally about the largest human migration on earth, that of 130,000,000 Chinese migrant workers who travel from the cities they work in back to the villages they came from for the Lunar New Year Holidays—a huge cultural event in China. One hundred and thirty million people, and no joy? I'm not suggesting the film makers had an obligation to assemble a tourist brochure and show shiny happy people everywhere. Many films use cultural events as backdrop to a story without commenting directly on the event itself, but I felt Last Train Home did comment by omission, and I was frustrated by it.

Documentary film makers always make choices about how best to tell a story, and they almost always hedge their bets a little on the fine line between creating and simply observing a story. Not to mention the Observer Effect. On the other hand, Last Train Home isn't about the New Year Celebration much at all. It's about generation gap and changing times in China exemplified by the enormity of hell people go through during the New Year, and it's frighteningly good at telling that story.

Speaking of frightening, there is a moment in the film where the whole thing breaks down, something which would ordinarily be left on the cutting room floor or assigned to the "Making of ..." section of a DVD, but the director left it in, and it will give you a jolt. I promise.

★★★★

Director: Lixin Fan
Starring: Suqin Chen, Changhua Zhan, Qin Zhang, Yang Zhang, Lixin Fan

IMDb
Wikipedia
Official Site
NPR
Roger Ebert

Catfish [2010] • USA

The other Facebook movie. The most surprisingly thoughtful little film of the year. That's all I'm saying.

★★★★★

Directors: Henry Joost, Ariel Schulman
Starring: Megan Faccio, Melody C. Roscher, Ariel Schulman, Yaniv Schulman

IMDb
Wikipedia
Twitchfilm (Ben Umstead)
Twitchfilm (Todd Brown and the reason that's all I'm saying.

The Last Lioness [2009] • National Geographic

I'm always suspicious about how much of the "story" is manufactured in some of these animal documentaries. This one focuses on a single lioness, Lady Liuwa, who is the sole survivor after massive poaching wiped out most of the wildlife in Zambia's Liuwa Plain, a 3,000 square mile reserve. Cameraman Herbert Brauer goes there to photograph hyenas and becomes the object of Lady Liuwa's affection. The lioness hangs out by his jeep and does playful ktty-rolls, sleeps close to his tent at night, follows him around like a well trained dog and rips the seat of his jeep to shreds trying to get at a little of his man smell (I guess).

Lady Liuwa has been alone for five years. The African Parks Conservation team hatches a plan to bring in a male lion to give Lady Liuwa some companionship and the possibility of mating and creating a new pride of lions in the park. The first male they bring in chokes to death on his own vomit after waking up from the ten hour sedation needed to transport him to Liuwa from wherever he used to live. They don't show that part, though, and don't really explain why it's so difficult to find and translocate some stud, or even some other girl lions, for Lady Liuwa to play with.

Eight months later the African Parks Conservation team finds a couple lion brothers and translocates them to Liuwa. Five days later they are hanging out with Lady Liuwa and she's doing kitty-rolls for them.

There better be a sequel.

★★★★

Starring: Lady Liuwa the Lioness

NatGeoTV site

Shine a Light (2008) • USA • Martin Scorsese

The Good: the film is staged, shot, lit and (visually) edited extremely well; Mick Jagger has emerged from his tunnel of self-parody and carries the film on his energetic old man shoulders, his voice as strong and as accurate as ever, his lithe little body defying all the rules that apply to most sixty-plus year old bodies; they don't play any of the crap music they've written in the past few decades, sticking to oldies and standards.

The Bad: the Rolling Stones suck as a rock and roll band now, a guitar driven rock and roll band, that is; Keith Richards is mesmerizing in a "What is that thing?" kind of way, but as a guitar player, nope. The unfriendly way to put it would be to say he's lost his chops or has forgotten how to play all the riffs that made him one of the greatest rock songwriters of all time. The friendly way to put it would be to say he doesn't know the difference between what he feels and what he plays—all the riffs and rhythms circulate through his bloodstream perfectly but the technology doesn't exist to send them through the sound reproduction system so all we get is what pulses to his finger tips—all we hear is his accompaniment to his inner self. His approximations to the riffs of "Tumblin' Dice" and "Brown Sugar" are almost forgivable but his butchering of "Start Me Up" is not.

Ronnie Wood. He may be a fine guitar player but he doesn't play well with others. It's as if he doesn't listen to, or hear, what other members of the band are doing. A couple of the film's highlights are the two songs Keith sings featuring Ronnie as the sole guitarist. He plays great acoustic (slide) guitar on "You Got the Silver" and rocks well on "Connection." Throw him into the mix and he plays junk. As soon as you want to excuse either Keith or Ronnie because they are old, Buddy Guy, seventy-plus years old, comes on stage and makes clear what it sounds like when the first thing a good guitar player does is listen to what other people in the band are doing.

The Beautiful: Mick singing "As Tears Go By" accompanied by Keith on 12-string acoustic. Perfect.

The Bizarre: with the caveat that I watched and listened to this film on a standard television set so I don't know what the Dolby 5.1 sounds like, the audio mixing practice of boosting the sound level of the performer in the visual edit, down to single notes sometimes, sounds ridiculous. Luckily, Mick was the visual focus of most of the film, his vocals out front and clear.

The Disappointment: "Lovin' Cup" sans piano. Terrible.

The best parts of the film, and by that I mean the best songs in the film, are the minimal, simpler ones. It's too bad there aren't enough of them. Mick Jagger can channel himself channeling himself all night long, he can be double-plus-good, but he doesn't have a band behind him any more. By showcasing the band's relationship to its music as product delivered to an audience, an audience of hand-picked, paid extras that also includes Bill and Hilary Clinton, Scorsese doesn't shine a light or bring any new insight to the Rolling Stones in this film.

★★★