Jeff Lubeck

Rosewater

Survivors of most ordeals usually point to a common thread that gets them out of the darkness and back to the light of day; staying connected to something outside the situation and with yourself.

Rosewater, the debut effort of Jon Stewart (The Daily Show) as a Screenwriter and Director for feature film is a compelling and rewarding watch. Rosewater presents the story of Iranian-Canadian journalist Maziar Bahari’s detainment by the Iranian Government.

Rosewater is not a big production effort or an extension of Stewart’s comedic Daily Show persona. Rosewater is a small film with understated direction, solid dialogue and settings combined with a number of superb acting performances. Rosewater is far from perfect. Bobby Bukowski’s cinematography produces a result that while adequate, feels a bit more television/HD Video, and not nearly a match to the rest of the film in terms of impact and effect.

Gael Garcia Bernal (Y Tu Mamá También, Motorcycle Diaries, Bad Education) is simply outstanding as the reserved, yet personable Bahari. He is portrayed as a person who for the most part plays observer and desires to remain one. A key theme of Rosewater is observer’s like Bahari will be penalized for being one.

The onscreen chemistry between Bahari – The Detainee with his capture’s and the spirit’s of his deceased father and deceased sister is what makes Rosewater shine. Kim Bodina (as Rosewater the interrogator) provides as fine a supporting performance as any film for 2014. The film Rosewater allows us to see a variety of dimensions of Rosewater the character – including lack of self confidence, anger, fear, unwitting subject of duplicity and, even desire to receive professional approval. Bodina nails it on all of them. Haluk Bilginer as father – Baba Akbar and Golsifteh Farahhani as sister – Maryam provide excellent performances. Both performances help with the overall success of Rosewater as these roles are key ingredients to understanding Bahari’s dilemma and salvation.

Birdman (The Unexpected Virtue of Ignorance); Includes Everything – Especially The Kitchen Sink

Alejandro González Iñárritu’s Birdman (The Unexpected Virtue of Ignorance) is thoroughly engaging and highly entertaining for all its 119 minutes in length. Is it a film? Yes, I guess so – technically. But film would be too narrow a categorization for the creative work that is Birdman. There is so much in and to Birdman I will simply claim it is everything including the kitchen sink. Especially the kitchen sink.

Iñárritu’s (Amores Perros, 21 Grams, Babel, Biutiful) previous directing and writing efforts have yielded some wonderful, if not magnificent films – all to this point in time rather dark and thought provoking. Birdman is different in that it includes bright and dark. The two work well together.

Birdman is about [pick a hopeful topic] that appears to disintegrate through the sobering aspects of cynicism and on occasion reality – only to be overcome and in some cases completely thwarted by the strength of human spirit. I am not kidding. The screenplay by Iñárritu and Nicolás Giacobone covers so many topics and themes I am hard pressed think of one that is missing. And astonishingly, despite the apparent complexity I doubt you will get lost.

The usual Achilles heel for a script/screenplay full of varied and complex themes is a weakness in some other major aspect of the film (i.e., direction, casting, acting, staging, editing, cinematography, music/sound). There are none I can think of with Birdman. The ensemble cast proves to be stellar. Michael Keaton’s performance and the irony of his casting in the lead role is uncanny. However the exact same thing can be said for Edward Norton. It truly feels as if these two could have been cast in these roles because the Hollywood machine leads us to believe they may very well live the part on a day-in-day-out basis.

Zach Galifianakis (Due Date, The Hangover, Dinner for Schmucks), Amy Ryan (Capote, War of the Worlds, Gone Baby Gone) and Lindsay Duncan (Under the Tuscan Sun) play smaller roles (from a screen time perspective) that prove to be crucial to the enjoyment of Birdman.

If viewed on paper the music selection and score by Antonio Sanchez would appear to be an incongruent mess (e.g., Jazz, Opera, Pop, College Football Band Parade, Science Fiction Thriller). It works!

And then there is the cinematography. Director of Photography Emmanuel Lubezki (Gravity, Children of Men, Ali, The Bird Cage, Little Princess) has done it again. Lubezki has conceived/executed a point-of-view continuos sequence style that practically inserts you into the situation. The “what feels like a” extended single take approach was utilized by Lubezki in the opening 18 minutes of Gravity and for the 17 minute military assault in Children of Men. What is different with Birdman? This is Broadway and includes scenes from back-stage intimacy to, mind-over-matter movement, to what has to be the ultimate battle in Birdman IV. Hey, you might get whiplash, but gosh the visuals are fascinating and fun. Besides doesn’t everyone in America have healthcare coverage?

In the end analysis, Birdman contains something – executed expertly – for every movie fan. At least that is my thinking. Perhaps you will argue that is the unexpected virtue of ignorance.

The Four (or Five) Falls of Na’ili’ili-haele – Maui

Reaching each of the Four Falls Na’ili’ili-haele in Maui is what all guides and guide books about the island categorizes as a “serious adventure”. It is one that ultimately involves trekking, hiking, rock climbing, boulder hopping, use of ropes, scaling waterfalls and swimming to a destination you have yet to personally confirm exists.

The entry point to the Four Falls of Na’ili’ili-haele is pointed out by all of the guided tour buses at mile marker 6.6 on highway 360 – heading east to Hana. Like most of these types of adventures there is no official trail-head or trail marker to provide reference, guidance or assurance. In short, the unknown and self – discovery of the routes, challenges and the waterfalls is the adventure.

Because of the wet slippery conditions, bamboo forest and river crossing (plus another one over a natural irrigation ditch) required before seeing even one waterfall – most return to the car quickly. Getting to each of the falls is similar to the difficulty levels of crossword puzzles in the New York Times – each successive one is more difficult to complete.

The first fall is technically not considered one of the four. Impressive as it is – the fall is fed by an East Maui Irrigation (EMI) ditch.

So the first waterfall is up the river a stretch.

Waterfall #1 is where about 99% of the adventurers stop. Getting above waterfall #1 involves route finding, rock climbing, and use of a rope plus makeshift wood ladder (to ascend and then later repel). For most finding the route and having the willpower to go somewhere poorly documented is more challenging than the actual effort involved.

The route between waterfall #1 and waterfall #2 is along the creek-bed. The route involves a series of pools that you can walk through or hop over on slippery boulders.

Waterfall #2 is just above head-high at the end of a series of pools.

The route between waterfall #2 and waterfall #3 is the most engaging. The trip involves route finding in dense grasses with creek-bank crossings and a 250 – 275 yard swim before reaching waterfall #3.

Rosewater

Birdman (The Unexpected Virtue of Ignorance); Includes Everything – Especially The Kitchen Sink

The Four (or Five) Falls of Na’ili’ili-haele – Maui

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