FOR THE BIRDS – movie review

FOR THE BIRDS
Dogwoof
Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Richard Miron
Cast: Kathy Murphy, Gary Murphy, William Brenner
Screened at: Critics’ link, NYC, 5/23/19
Opens: May 31, 2019 at IFC Center in NY

Kathy Murphy

Although both the title and the early scenes make you think that this will be little more than another propagandistic tale of animal welfare, Richard Miron, who shot the documentary over a five-year period in Ulster County, New York, nails what it’s like to be a nonconformist in a village community, and the effects on a marriage of a 58-year-old woman’s hobby which could not have been pursued in any but a rural space.

Starring in the film, Kathy Murphy, obviously an animal lover, seems destined almost masochistically to bring about an end to a long marriage and the possibility of winding up behind bars should a prosecutor increase his reputation by fighting a woman who is obviously poor (note her missing teeth) and who has only the best intentions toward her pets. And what a world of quacks and cock a doodle dos! Kathy and Gary find a small duck in their yard, one which happily will never wind up on a hook in a New York Chinatown restaurant. A decade later, lo and behold, she has a menagerie of ducks, roosters, chickens, geese and turkeys that should make her a candidate for woman of the year in the town of Wawaring, New York. Her devotion to these pets is so unbounded that she is will not only destroy her marriage to Gary, who is hardly as enthusiastic as his wife, but is so consuming that she would die rather than lose them. Or so she said, because when the authorities got after her, calling her a hoarder who boards the birds in filthy conditions—feces everything, chickens in her bed, dirty water–she manages to stay alive but suffers not only a matrimonial crisis but the chance to be sentenced to a fine of $1000 and/or imprisonment for up to a year.

When officers from the Woodstock animal sanctuary, a beautiful place surrounded by a mountain range with grass and water everywhere, speak with her, they are sympathetic, at least more so than the judicial branch. When the long arm of the law closes in, she is defended pro bono by William Brenner, a country lawyer with as large practice and three assistants who also plays a mean banjo and sings “You Are My Sunshine” with the appropriate rural twang.

Things were better in previous days, at least from archival pictures we see of her wedding to Gary, a war veteran, which probably would have been stable for decades to come if the birds had not entered the story. When we see Kathy now, she is a veritable motor-mouth, defending her boarding of animals with such passion that we wonder whether she is bi-polar though with 100% of the time experiencing the manic stage. When the darkness lifts, we are happy to see that Kathy has let bygones be bygones and can look forward to caring for at least a legal percentage of her the animals that appear to share and return the woman’s devotion to them.

92 minutes. © 2019 by Harvey Karten, Member, New York Film Critics Online

Story – B
Acting – B+
Technical – B
Overall – B

3 FACES – movie review

3 FACES (Se rokh)
Kino Lorber
Reviewed for Shockya.com & BigAppleReviews.net by: Harvey Karten
Director: Jafar Panahi
Screenwriter: Jafar Panahi
Cast: Behnaz Jafari, Jafar Panahi, Marziyeh Rezaei, Maedeh Erteghaei, Narges Del Aram
Screened at: Critics’ link, NYC,
Opens: March 8, 2019

Jafar Panahi in Se rokh (2018)

In March 2010 Jafar Panahi, among the best-known of Iranian film directors, was arrested, sentenced to a six-year jail term , spending much of that time under house arrest and forbidden to leave Iran. He was accused of making propaganda films against the Iranian government. While awaiting the result of an appeal, he made This Is Not a Film (2011), a documentary feature in the form of a video diary in spite of the legal ramifications of his arrest. It was smuggled out of Iran in a flash drive hidden inside a cake and shown at the 2011 Cannes Film Festival.

That act of smuggling is what could pass, justifiably, for excitement even here in the U.S., a sort of incident that patrons of commercial movies might line up to see. Nothing of this sort occurs in “3 Faces,” the title characters being one aging actress who performed before Iran’s 1979 revolution, one who is famous today, another being a young woman accepted to a conservatory who dreams of being in the movies. Panahi’s latest offering is a road-and-buddy movie using the genre’s tropes: a couple of friends who travel outside their neighborhood to observe the customs of folks from a less sophisticated walk of life. When Panahi travels from Tehran to a rural village in the Northwest of his country with actress Behnaz Jafari in the passenger’s seat, he entertains us with the odd folks you’ll probably find in the sticks anywhere. They are a friendly people who throughout the village invite them to tea, but under the surface is a hostility to women, sometimes shows vividly, and at other times with passive aggression.

This is not to say that Iranian women are like those of their gender in Afghanistan and Saudi Arabia. They do not have to cover themselves head to toe and get whipped if they show so much as an ankle. They do wear hijabs, or coverings, on their heads but can push the scarfs back to expose some hair. (This would not be so objectionable if men were also required to cover themselves. Wouldn’t people with the uncovered looks of Brad Pitt get the women all hot and bothered ?)

Performers use their own names as though this were a fly-on-the-wall documentary. The movie gets off to a vivid opening when Marziyeh (Marziheh Rezaei), a woman of about eighteen, makes a video of her suicide, tying a rope around her neck, the other end fastened to a tree. She sends the video to Jafar Panahi who shows it to Behnaz Jafari, who becomes obsessed with what she considers the injustice: the young woman’s parents will not allow her to attend a school for acting. Women who “perform” are said to dishonor the family, at least in this rural area where Turkish and Azeri become the dominant languages of the people. (I won’t bother to say obvious things about the millions of Americans living predominantly in rural and suburban areas of red states.)

As the director and the celebrated actress negotiate the unpaved roads in areas where many people had probably never seen Tehran, they take note of oddities. An elderly woman relaxes in a grave that she has dug, keeping the snakes away because the reptiles will punish her for her bad deeds. An old man soon after instructs Panahi to honk his horn once, then twice, seemingly a compulsion but in fact having a rational purpose. Toward the conclusion, another resident hands Jafari a foreskin of her infant to serve as a talisman. And a bull with “golden balls” that has practiced his stud service in a single night on ten cows lies in the road with a broken leg, its owner determined not to put the animal out of his misery because the animal makes a living for him.

There is virtually no music in the soundtrack. Panahi respects his audience enough to take many a long shot, all filmed expertly by Amin Jafari’s use of handheld cameras. Of course the young woman’s “suicide” is faked, designed to get the famous actress to visit and to talk the girl’s parents into allowing her to “perform.” In this film the acting profession is used to symbolize the patriarchy of the country, strongest of course, in the sticks. The three faces of the title include Shahrazade, who does not appear, having performed before the 1979 revolution and now living alone and miserable. While Behnaz Jafari has had success in her profession and is treated with excitement by the teen girls in the village who crowd around her, she is not all that welcomed by the oldsters. We wonder whether the third and youngest face will be able to compete for the success of Mrs. Jafari. “3 Faces” demonstrates the solidarity of women, all the more pronounced when it is repressed, a compassionate look at what some would call the “real people” of their country, all the more moving because of the film’s meditative nature.

100 minutes. © 2019 by Harvey Karten, Member, New York Film Critics Online

Story – B+
Acting – A-
Technical – B+
Overall – B+