Second Opinion
Film Review by Kam Williams
If you’ve ever wondered whether the cancer industry is truly interested in developing a cure for the disease, you might want to check out this eye-opening expose’ confirming your worst fears. Directed by Eric Merola, the shocking documentary blows the covers off a shameful chapter in the history of Sloan-Kettering hospital, a revered institution long-trusted to have the best interest of its patients at heart.
Apparently, that wasn’t the case back in July of 1974 when one of its top researchers, Dr. Kanematsu Sugiura, announced that an experimental drug named Amygdalin, also known as Laetrile, had proved highly effective in treating certain types of cancers in laboratory mice. Instead of heralding the discovery as a major inroad in the fight against malignancies, the Sloan-Kettering brass, ostensibly at the direction of the American Cancer Society, moved swiftly to discredit Dr. Suguira’s findings.
Not only did they issue a “Second Opinion” disputing the notion that Laetrile might reduce tumors, but they even went so far as to suggest that its side effects were much worse than chemotherapy, which was “an out and out lie.” That is the contention of Dr. Ralph Moss, a colleague of Suguira who was also on the Sloan-Kettering staff at the time.
Moss was so offended by the disinformation being disseminated in the press by his bosses that he eventually decided to turn whistleblower. Truth be told, Laetrile was “better than all the known cancer drugs” then available.
However, Sloan-Kettering came down on Moss like a ton of bricks, too. He was summarily terminated, losing both his job and career in the process.
Furthermore, he was unable to interest any mainstream media outlets in the cover-up, despite the overwhelming data in favor of Laetrile. In fact, the New York Times proceeded to publish a front-page story denigrating the drug.
Dr. Moss’ only satisfaction is that the three hypocritical superiors who fired him, Dr. Robert Good, Dr. Lewis Thomas and Dr. Chester Stock, all MDs, all died of cancer, ironically. Whatever happened to the Hippocratic Oath to “First, do no harm?”
Excellent (4 stars)
Unrated
Running time: 75 minutes
Distributor: Merola Productions
To see a trailer for Second Opinion, visit: https://www.youtube.com/watch?v=GcCyawsaWZQ
Bill T. Jones
The “Story/Time” Interview
with Kam Williams
Tiny Dancer, Dancing in the Sand
Williams Tass Jones is an accomplished artist, choreographer, dancer, theater director and writer. The world-renowned Renaissance man was born in Bunnell, Florida on February 15, 1952, but raised in upstate New York from an early age.
Bill began his dance training at the State University at Binghamton, where he studied classical ballet and modern dance. In 1982, he formed the Bill T. Jones / Arnie Zane Dance Company with his late partner, Arnie Zane. Today, he continues to serve as the company’s choreographer and artistic director. He is also the executive director of New York Live Arts, a multi-disciplinary performance venue. Bill is the recipient of many accolades, including the National Medal of Arts, the Kennedy Center Honors, the Jacob’s Pillow Dance Award, Tony Awards in the Best Choreography category (for Fela! And Spring Awakening), a MacArthur Genius Grant, the prestigious Order of Arts and Letters from the government of France, and induction into the National Museum of Dance Hall of Fame. Here, he talks about his career and his surrealistic new memoir, “Story/Time.”
Kam Williams: Hi Bill, thanks for the interview. I loved the book.
Bill T. Jones: Fantastic!
KW: What a unique idea, turning a series of surrealistic lectures you delivered at Princeton into a memoir?
BTJ: I don’t know why I still have this illusion that I could do something quietly which would just be for a very small group of people. Now that the book is being promoted, there are wider ramifications, and it’s part of a whole other form of expression beyond my just doing pure inquiry for myself. And you’re one of those personalities that comes along with that tsunami of discourse. So, no complaints, I’m just adjusting to that. So, what would you like to do, Kam?
KW: I’d like to mix in questions from fans with some of my own. Professor/Filmmaker/Author Hisani Dubose says: How has the trend towards people relying on technology for entertainment affected the appreciation of creativity in terms of live dance performances?
BTJ: [Laughs] Well, that’s quite a question, Hisani. I appreciate the question. We’re all wondering about that. There are a couple things we see. Dancers were the last romantics. The Romantic Movement of the 18th and 19th Century had this idea that everything in the world was an expression of Nature. We in the dance world held onto this idea for a long time that we were Nature itself. There were no tricks involved. When the curtain went up, you saw real people onstage. And we took that as setting us apart from other cultural pursuits. It’s not scored and we don’t need a conductor to bring it to life. No, dance is about a group of people coming together and using their bodies. But now we’re in an electronic, on-demand age where everything can be reproduced, and where life is an ever more turned inwards experience. One thing about dance that I’m proud of is the fact that you have to show up in a place and create an instant community for an event that occurs onstage which, depending on the skill of the creators, has great resonance with that community of people. And this may sound suspiciously Christian, but you also all share a communion. Do we have the same experience with electronics? I think watching live performers onstage is different from standing around the water cooler discussing last night’s episode of Breaking Bad I notice that there is now this feeling among many young people that the most important things are those that are validated by media. Do they go out of their way to attend an event with a smaller group of people who share a specialized interest? I tend to doubt it. And I suspect that might be a consequence of the rise of electronic media.
KW: Do you think electronic media should somehow be restricted or perhaps even eliminated?
BTJ: No, I’m not a reactionary in that regard. I believe that human life is a spiritual activity, and that anything that human beings give themselves to with great enthusiasm can rise to the level of being transcendent. I’m on the side of humanity and its penchant for finding innovative ways to express our dilemma through whatever medium we’re faced with.
KW: Marcia Evans says: First, let Bill T. Jones know that ironically while on Bard College Alumni site I discovered that he received an honorary degree. Let him know as a past Bard student it made me proud to see him at that podium. It brought back my fond memories and my disappointing ones regarding lack of professors of color teaching at that esteemed college. The years I attended in the early 1980 black professors were not teaching at Bard at that time. This was before Toni Morrison who was the first professor of color to teach there. Leon Botstein kept saying that they couldn't find black professors who wanted to teach there, which was nonsense. Secondly, it's nice to see how much Mr. Botstein has grown since then. An example of his progress is reflected in how many times Mr. Jones’ dance troupe has graced the stage at Bard. It's clear that Botstein now respects Mr. Jones as an artist with much to teach about dance. Third, let him know that I admire his warrior spirit teaching the world about AIDS. Fourth, let Mr. Jones know that the mother's words of wisdom his mother gave him after he lost his partner really spoke to me. Finally, let him know that he is one of my heroes and that this sister is major proud of his gift and grace and of how he conducts his business of dance.
BTJ: Well, Marcia, I am overwhelmed by your response, because I am very much African-American, even though I’m not a Christian like my mother was. Still, I appreciate the African tradition in the Black Church where you stand up and speak out to the community and the community answers back, effectively saying, “I hear you!” And this is what this communication with you has just done for me, Marcia. One of the struggles of a contemporary modern artist is to bridge this question: Is my work coming from a continent of one, an inner voice, a unique personal experience? Or is it that you have the privilege of standing on the shoulders of a community of people who have afforded you that platform, and that your work is always going to be negotiating that inner personal location and the ongoing discussion that your people are happy? I am really proud when I receive national honors, but I’m equally pleased when I hear a sister, a black woman, actually embrace me like a brother. I no longer feel alienated at this moment.
KW: Have you had a hard time pushing back against society’s tendency to pigeonhole you and the pressure to categorize your work? What is black dance?
BTJ: That used to be the most torturous question for me. For years, I used to say that I wanted to be no part of anything that had to have a color. I wanted the same freedom enjoyed by my white colleagues. But now I say that black dance is anything that a person who defines himself as black chooses to do. That causes a lot of head scratching. Some may ask, “Why do you bother to put “black” in it?” Because there’s another subtext to that. You can look at my face and see what color I am. Still, it’s important to me to carry that little medal on my shoulder. As time goes on, it just might be part of the answer to the existential question “Who am I? Where do I come from? And why am I here?” There’s something specific about it that inflects my life as a black person.
KW: Editor/Legist Patricia Turnier who is from Canada and loves dance was wondering whether you have any plans to perform there in the near future.
BTJ: We’ve played in Toronto quite a few times and hope to go there every time we produce a new work which right now is “Story/Time” which this book is based on. And we have another work-in-progress called “Analogy” dealing with a narrative in which the dancers speak. I would love to show both of those productions in Canada.
KW: What did it mean to you to be part of the series of the Toni Morrison lecture series, given that she was the first black female to win the Nobel Prize for Literature?
BTJ: It was a great honor, as well as an honor to have her in attendance, and I look forward to presenting her a copy of the book. Toni actually also happens to be a friend as well. She lives 15 minutes away from me and my companion and soon-to-be spouse, Bjorn Amelan. We live in a little town in Rockland County called Valley Cottage. Toni’s nearby in a community called Grand View. We see each other socially, and Toni and I shared the stage with Max Roach doing a piece called Degga. Degga, by the way, is a West African word, it’s Yoruba for “understand,” and according to Toni is the root of the phrases “Dig it” and “Can you dig it.”
KW: Was writing this book a cathartic experience for you?
BTJ: On one level it was. The book initially was three lectures in which I attempted to work out some ideas in public. Since I’m a performer, that’s how I’m most comfortable. But, it’s a whole other thing when you’re confronted with just your words on the page unaccompanied by your personality. So, yes, it was cathartic, but it was also nerve-wracking because I’m a professional performer, not a professional writer.
KW: Would you be interested in choreographing a screen version of a Broadway musical that is dear to your heart?
BTJ: Film is a little beyond me right now. [Laughs] I’m still wrestling with staging real space/real time events that are going to appeal to a broad audience. The recent Broadway musicals which have made it to the screen haven’t done very well. That could change, but it’s not the same as during the Golden Age of Broadway. Making a movie could be a great thing, but for some reason they haven’t fared so well lately.
KW: Ilene Proctor asks: Do you think dance should be taught as part of a school’s curriculum?
BTJ: Yes, I do. Dance is one of the most challenging cultural endeavors, because we’re literally working with the body, this profound instrument of transformation and communication. Conceptually, you can teach children, even if they have no legs, how to think not only by looking but by feeling and doing. And it’s not about athletics or competition. Inspiring a child to move just for the joy of moving is a great gift to that child.
KW: Attorney Bernadette Beekman says: I love your work so much. I know you have worked with children and with professionals of all ages to teach them your choreography. Do you think there are some people in the general public who have no sense of rhythm who can not dance no matter how hard they try?
BTJ: [LOL] I appreciate your analysis, Bernadette, but I would ask you to expand your concept of dance beyond rhythm. There are some very moving performances I’ve witnessed where the person is practically still the whole time, making very few gestures. The most advanced people working in dance right now are using the body to explore questions about life, religion, art, medicine and so forth. And that doesn’t necessarily mean you have to be a crackerjack social dancer, but rather calls for a certain level of intelligence to be employed in close collaboration with this sacred instrument called the body.
KW: Is there anyone you would like to collaborate with that you haven’t yet?
BTJ: The list grows every day. One is the visual and installation artist Theaster Gates. He has distinguished himself by working in clay with his hands while singing the blues and nursery rhymes. He also creates a novel form of art by renovating abandoned buildings in the ‘hood in Chicago them and turning them into listening rooms for the community. I’m looking forward to collaborating with him on something.
KW: Daryl Williams was wondering whether you felt that Fela's death due to AIDS should have been included in the play.
BTJ: Obviously I didn’t, because I didn’t put it in. Black themed shows have a hard time on Broadway. I have my reasons for that. I thought that it would hard be enough to get audiences to come and listen to his type of music as theater music. I didn’t want Fela’s uniqueness and all of his accomplishments to be subservient to another AIDS story.
KW: Colonel Alan Gray asks: How did you become involved with Alvin Ailey? BTJ: When I moved to New York, Alvin came to one of my workshops because he had been hearing about me, since there weren’t many young black choreographers around. He recognized something that we had which was kindred and he asked me to make a piece for his company. He sort of put his arm around me, encouraged me and joined my board. And I’m forever grateful to him for that.
KW: Alan also asks: Are African-Americans generally appreciative of your style of performance?
BTJ: African-Americans are a very large and diverse group, right? We need to have a much more sophisticated discourse than that. Anything less is insulting to us as a group. Let’s face it, the modern dance world is mostly a white middle-class world. But I’ve seen more blacks attending more dance events over the years. That’s why I talk about it so much. I do want black people to know that there is a man, a brother, inside of all this esoteric stage movement who is really trying to say something from his heart. Some of it has to do with being African-American, some of it has to do with being a “World Citizen.”
KW: Thanks again for the time, Bill. Best of luck with your wedding, the book, your upcoming productions, and your many other endeavors.
BTJ: Thanks, Kam. Please don’t hesitate to call if you need to fact-check anything.
The Calling
Film Review by Kam Williams
Susan Sarandon Stars as Small Town Detective in Adaptation of Cat-and-Mouse Murder Mystery
Hazel Micallef (Susan Sarandon) was thinking about retiring from the Port Dundas police force because of the herniated disc which left her addicted to both booze and painkillers. But the hobbled detective decided to put those plans on hold the day she stumbled upon the body of an elderly neighbor whose throat had been slit from ear-to-ear by a deranged intruder.
After all, this was her beloved hometown’s first homicide in years, and there’s no way she could leave the investigation on the shoulders of the only other two detectives on the force, veteran Ray Green (Gil Bellows) and newcomer Ben Wingate (Topher Grace). Soon, the three unearth evidence which indicates that the murder might very well be the work of the same serial killer responsible for several other recent slayings elsewhere around Ontario. .
Apparently, the creepy lapsed Catholic was practically taunting the authorities by leaving clues online, which is where he preys on each of his vulnerable victims. The question is whether, with the help of a priest (Donald Sutherland), the police will be able pinpoint the prime suspect’s locale in time to prevent him from striking again.
That is the intriguing setup of The Calling, a multi-layered mystery marking South African Jason Stone’s chilling directorial debut. Based on the Inger Ash Wolfe best seller of the same name, the film unfolds less like a whodunit than a cat-and-mouse caper, given how the perpetrator’s identity is confirmed about midway through the movie.
Still, the picture proves compelling, thanks to a powerful performance on the part of Susan Sarandon. The talented Oscar-winner (for Dead Man Walking) is uncharacteristically unappealing playing a familiar archetype, one of those substance-abusing souls in decline who summons up the strength to solve one last case.
Fair warning: the film is tarnished slightly by periodic displays of grisly crime scenes apt to upset audience members averse to gratuitous gore. Otherwise, the picture earns accolades as a taut thriller about a religious zealot on a ritualistic killing spree.
Bless me father for I have slain!
Very Good (3 stars)
Rated R for violence, profanity and disturbing content
Running time: 108 minutes
Distributor: Sony Pictures
To see a trailer for The Calling, visit:
The November Man
Film Review by Kam Williams
It’s Spy vs. Spy in Labyrinthine Espionage Thriller
Director Roger Donaldson is probably most closely associated with No Way Out, one of the best espionage thrillers ever made. The accomplished Australian revisits the genre with The November Man, though this picture pales in comparison to his ingenious, 1987 classic.
Nevertheless, Roger has crafted another labyrinthine, cat-and-mouse caper which miraculously manages to keep you on the edge of your seat despite an often-incoherent plotline, slapdash action sequences, and an inscrutable cast of characters with difficult to discern motivations. Overall, the adventure amounts to a dizzying head-scratcher which takes you on one helluva roller coaster ride, even if it might take a scorecard to keep the profusion of players straight.
Based on the Bill Granger best seller “There Are No Spies,” the movie stars Pierce Brosnan in the title role as Peter Devereaux, an ex-CIA Agent once code named “The November Man.” While he retired to Switzerland five years ago, it doesn’t take much to coax him out of the rocking chair to help extract Natalia (Mediha Musliovic), a Russian double agent ready to come in out of the proverbial cold.
After all, they share a secret past which produced Lucy (Tara Jevrosimovic), a love child he misses terribly. However, the prospects of a father-daughter reunion are reduced significantly when Natalia is shot in the head by a team of assassins led by David Mason (Luke Bracey), Peter’s former protégé in the CIA.
What’s up with that? Did the Agency really want Natalia dead? Or did David go rogue? These are the questions left unanswered as Peter accepts another dangerous assignment, namely, the exfiltration from Moscow of Alice Fournier (Olga Kurylenko).
Alice is a pivotal witness for the prosecution set to testify in front of a war crimes tribunal about all the atrocities committed in Chechnya by Arkady Federov (Lazar Ristovski). Trouble is Federov is Russia’s ruthless President-elect and isn’t about to let some social worker abort his rendezvous with destiny.
So, it’s not long after making Alice’s acquaintance that Peter realizes she has no shortage of angry adversaries, both Soviet, such as Federov’s acrobatic henchwoman (Amila Terzimehic), and American, like the CIA mole giving David his marching orders. Regardless, the peripatetic pair proceed to leave a messy trail of bloody bodies behind as they pick up long-lost Lucy before making a daring escape to the West.
Vintage Brosnan!
Very Good (2.5 stars)
Rated R for rape, profanity, sexuality, nudity, graphic violence and brief drug use
In English and Russian with subtitles
Running time: 108 minutes
Distributor: Relativity Media
To see a trailer for The November Man, visit: https://www.youtube.com/watch?v=X0-uN5l1Z2I
Are You Here
Film Review by Kam Williams
Owen Wilson and Zach Galifianakis Return to Roots in Irreverent Buddy Comedy
Sometimes you can appreciate what a movie might have been shooting for, even though the final cut falls far short of the mark. Such is the case with Are You Here, a cringe-inducing buddy comedy co-starring Owen Wilson and Zach Galifianakis.
The movie marks the eagerly-anticipated directorial debut of nine-time, Emmy-winner Matthew Weiner who fails in his first attempt to find the same magic which served him so well writing scripts for both Mad Men and The Sopranos. Unfortunately, something ostensibly got lost in the translation from TV to the big screen, as this picture proves to be an annoying test of patience.
The problem probably emanates from the ill-advised pairing of the wry Wilson and goofy Galifianakis, whose personas mix about as well as oil and water. Sorry, Weiner doesn’t get any extra credit for effort for crafting an ambitious adventure that bites off more than it could chew cinematically, since all that matters to an audience is execution.
And while Are You Here revolves around an intriguing enough premise and features plenty of surprising twists, the comedy portion of the production simply flunks the “Make me laugh” test. At the point of departure, we’re introduced to roommates/BFFs Ben Baker (Galifianakis) and Steve Dallas (Wilson). The former is an infantile eccentric incapable of functioning in society, while the latter is a stoner and popular TV weatherman for a local network.
When Ben’s dad dies, the two decide to drive the thousand miles back to their idyllic hometown in Lancaster County, Pennsylvania, where the recently deceased has left behind property worth millions of dollars. Also showing up for the funeral is Ben’s only sibling, Terry (Amy Poehler), a greedy shrew who clearly expects to inherit half of her father’s estate.
At the reading of the will, however, she learns that the old man only left her $350,000, and cut his trophy second-wife, Angela (Laura Ramsey), out of the will entirely, with the bulk of his cash plus a grocery store and 144-acre farm going to Ben. But her brother’s so dysfunctional, there’s no way he’d ever be able to manage the family businesses, given such bizarre behavior as visiting their Amish neighbors in his birthday suit.
Based on the scenario I’ve just described, one would naturally expect the tension to build around a fight over the inheritance. However, writer/director Weiner earns high marks for creativity in that regard, as he’s fashioned a novel plot that’s hard to predict.
Rather than spoil any of the subsequent developments, suffice to say that its unique storyline can’t save a picture that breaks a cardinal rule of comedy by failing to be funny. Have Wilson, Galifianakis and Poehler ever been better? Gosh, I certainly hope so.
Fair (1 star)
Rated R for sexuality, nudity, profanity and drug use
Running time: 114 minutes
Distributor: Millennium Entertainment
To see a trailer for Are You Here, visit: