The Daily Grand and Sundry

Remembering H.L. Mencken’s quote that “No one ever went broke underestimating the (bad) taste of the American public,” they very well might succeed.

However, as for the movie itself, you’ve probably seen it all before: If you have seen “Jurassic Park,” “The Lord of the Rings,” “Star Wars,” “Apocalypse Now,” old “cowboys and Indians” B-movies, and any of a number of other films in all of these genres — and then throw in a healthy dose of Busby Berkeley kitsch — there is nothing new in “Avatar.” You’ve also heard it all before, from the cliché-riddled dialogue to the “boom boom” and “screech screech” sound effects; even the score by James Horner channels everyone from Gustav Holst and Edward Elgar to Howard Shore.

Ron Streicher

That letter made me reflect on the films I had seen in 2009; and upon reflection, it became evident to me, that I had seen a film which was original, had stunning performances, packed a life lesson,had outstanding music, and a point of view. IRENE IN TIME, Written and  Directed by Henry Jaglom is a vest pocket masterpiece.

I have often wondered about the individual back stories of the female contestants on Reality Tv programs. How they, in good conscience, could evacuate privacy from their lives?

Jaglom  is the leading exponent of Bergmanesque among our current crop of film makers/playwrights. Here, working in an Ingmar Bergman vein of humanistic discovery, he takes a devastating look at the back stories of all those inane female REALITY TV contestants. He has caught their pulse. The heroine, IRENE does not wind up on a Reality Show, but that was the only other logical choice in her life.

Tanna Frederick is wonderful, in her portrayal of total, complete, almost  catholic vulnerability; Her every action, every thought is afflicted with the leprosy of vulnerability.  The ground that Ibsen and Tolstoy pioneered in trying to explain modern women gets a full, fruitful vetting in her performance.

Ms. Frederick’s performance is keenly supported by Kelly DeSarla, who gives a seasoned, and ripe performance as the lesbian who has a great deal of issues with her reprobate,not so recovering, drug addict of a father, played by David Proval of THE SOPRANOS.

The best scene  in the film, in my opinion, is the dialog between IRENE, and her mother, played brilliantly by Victoria Tennant.  Not bitter, but wise and bittersweet, the mother desperately tries to explain to her daughter the lure, and danger, hope and shipwreck, she experienced being married to IRENE’s father, the danger of being married to an emotionally reckless man.

 I sincerely hope some kind soul will splice that scene and send it to Elin Nordegren,she needs it.

As for the original  music in IRENE IN TIME, scored by Harriet Schock; it is sublime.

BEST DOCUMENTARY remains GOOD HAIR, which did not made the cut for the Oscar.