Sydney Film Festival: Super/Man The Christopher Reeve Story

Super / Man: The Christopher Reeve Story

Super / Man: The Christopher Reeve Story Rating

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The directors Ian Bonhote and Peter Ettedgui present the documentary Super / Man: The Christopher Reeve Story to the world and by doing so, they bring him to a whole new generation of people who may not know who he is, seeing that Superman was released to box office success in 1978. Perhaps some people know him for being the man in the blue and red lycra suit, but Christopher Reeve was so much more than these four movies, and we are introduced to the man behind the Superman suit.

Through exclusive archival video footage, and interviews with his three children Will Reeve, Alexandra Reeve Givens and Matthew Reeve, we are given a glimpse into Christopher’s life.
The film explores his early years, as a student at The Julliard School, where he met one of his closet friends Robin Williams. He loved acting, treading the boards on stage in theatres. There is an interview with his then partner Gae Exton, the mother of his two children.

We see him as the family man, now in a relationship with singer and actress Dana, playing piano with Matthew sitting on his lap, bantering with his two eldest children Will and Alexandra and leading an extremely active and outdoor life. Christopher Reeve also narrates part of his biography, and various home movie footage scenes show his interactions with many sports and hobbies. He tells us that he loved horse riding, sailing, gliding amongst the clouds and tennis.

“I’ve always loved flying. It’s my passion in life.” he says. Christopher flew solo twice across The Atlantic. This was a man who lived life to the fullest.

Until an accident in 1995 which changed his life in a split second. Whilst at an equestrian competition in Culpeper, Virginia, Christopher was thrown forward from his horse and suffered injuries which would leave him paralysed with spinal cord injury. He was 42 years old at the time of his accident and would spend the rest of his life in a wheelchair and on ventilation needing 24-hour nursing care until his passing on 10th October 2004.

There are scenes which separate the archival footage which show a sculpted likeness to Christopher floating in space. When the accident happens, it was a clever artistic touch to see kryptonite crystals forming on his body.

We witness Christopher’s journey and his loving support from his wife Dana. It becomes a very human story from this point in the film. The family and directors have carefully pieced together the footage to show how Christopher Reeve was a man who, in his opinion after the accident, had lost everything. The documentary shows how scared he was. He went from being a participant to an observer and the audience could feel his loss, especially in one scene where he came home after the hospital.

However, Christopher Reeve was no ordinary man. He was intelligent and he was courageous. He began to want to live, and he credits this to his wife a couple of times. Christopher’s narration of how he became determined to walk again, with painful physical therapy sessions, and his journey to being an advocate for people with spinal cord injury is truly inspiring.

The documentary features interviews with his friends, Glenn Close, Whoopi Goldberg, Greg Daniels, Susan Sarandon and by way of archival footage, the late Robin Williams and Brooke Ellison, a friend Christopher made who also had a spinal cord injury. Brooke speaks of how Christopher spoke out, to educate people on the hardships people with disabilities face, and to lobby the government to pledge money to be used toward research. Just ten months after his accident, in an industry which was not inclusive of people with disability, he attended The Oscars sitting in his wheelchair on stage and was greeted with a standing ovation.

Together with Dana Reeve, they started the Christopher and Dana Reeve Foundation, dedicated to researching a cure for spinal cord injury and improving the quality of life for those affected and for their families. The three children are actively involved in this foundation.

It is clear from this documentary that both Christopher and Dana Reeve were people who believed they could make a difference and help others, despite their challenges. This is a beautiful and bittersweet dedication to them both, and to love and courage. We are left with the wise words of Christopher Reeve, that the essence of life “is your relationship”.

I saw Super / Man: The Christopher Reeve Story on Saturday 8 June 2024 at The Hayden Orpheum as it was showing as part of The Sydney Film Festival.

Film running time: 104 minutes

SESSIONS: Monday 10 June 6PM
Ritz Randwick, Sydney

Sunday 16 June 2PM
Event Cinemas George Street, Sydney

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The Ballad of Maria Marten – Giving Voice to the Victim

The Ballad of Maria Marten

The Ballad of Maria Marten Rating

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“It’s been a year since I died, and still nobody has found me.”

A shadow emerges from a barn. It’s a figure in britches, and so begins a tale which captured the mass attention of people in 1827 – the murder of young mum Maria Marten. This true crime occurred in the village Polstead, Essex in England and newspapers sensationalized the case and the subsequent trial, dubbing it The Red Barn Murder. The Ballad of Maria Marten, written by Beth Flintoff, focuses on Maria’s life and of those who loved her, rather than the gruesome details of her death.

In the powerful opening scene, Maria (Laura Stead), her face lit effectively from underneath, giving her a haunting appearance, introduces us to her untimely death. Set and lighting designer Wayne Chee achieved dramatic visual effects such as this throughout the play, and notably when lighting the barn, where Maria is cruelly hidden for a year after her murder.

Maria is the narrator of her own story, and throughout the play, Laura seamlessly switches from telling the story to melting into a scene. By Maria narrating the play, I felt as though the author was honouring her and giving her the power to take charge of her own story, whereas, in real life, the real Maria didn’t have a voice in the newspaper articles.

We are introduced to Maria’s close friends, Phoebe (Chiara Helena Arata), Lucy (Kimberlea Smith), Theresa (Genevieve Sky) and Sarah (Jacqui Wilson), as they circle close to Maria for an effective costume change. When they move away, Maria is transformed into modest clothing as the 10-year-old daughter of a mole catcher, wearing a cotton skirt, apron, and shirt commonly worn at the time. It is here that we see the carefree, playful, and kind side to Maria, and the bonds of her friendship she has with her girlfriends. (She’s the ringleader for the Hazard Club, a secret club where they get up to numerous adventures together.) It is these strong bonds that remain a constant theme.

Music connects the audience to the 1800’s time period. The group of girls happily sing chants and dance, showing undisguised notes of joy in their own type of freedom. Violinist Chris Porteous adds depth to the story onstage. Costumes by JAS Enterprises were effective in portraying the characters believably.

Maria meets her new stepmum Ann (Madeleine Lawson) when she bounds back into her home one day. Ann is nervous and genuinely cares about making a good impression on Maria, otherwise Maria’s dad may send her away to a workhouse. This highlights how dependant women were on men for their happiness and wellbeing during this period. As time goes on, Madeleine successfully portrays the character development of Ann from a self-deprecating young stepmum to a strong protector who loves Maria.

Director Jennifer Willison put together a solid all-female cast and an intriguing story. Of course, the play has male characters, including the slimy Thomas Corder (Cee Egan) and Maria’s first love Peter Mathews (Niamh McKervey). Peter and his sister Lady Cooke (Jade Rodrigues) are from a well-to-do family, and it is through these characters where we see the strong divide between the working class and the wealthy upper class. The prejudice was clear from Lady Cooke, who initially showed kindness towards Maria and then cooled as she realised her brother was interested in Maria. This divide has echoes of truth, even now.

After the 20-minute interval, the second act takes a darker turn as we witness the disintegration of Maria’s mind after she comes under the influence of William Corder. She slowly becomes dependant on him as the audience bear witness to hearing the terrible deeds of this faceless character.

“Am I being tested for lunacy?” a dishevelled, distressed Maria with messed up hair cries. I noted that her beautifully styled hair in previous scenes had been an underlying focus, reflecting her own beauty and perhaps confidence.

It was powerful storytelling to see Maria relate her unravelling as she becomes the target of coercive control and domestic violence, yet she cannot see it, and in parallel, we also cannot see this character on stage. He remains a perceived threat to all. Sadly, the examples Maria uses are strikingly similar to the stories women who have been through this experience tell, almost two hundred years later. This is a story which spans time and must be told with the hope that change comes.

Rising amongst the darker themes in this story is the power of love and strength between friends. This is a moving tale which captured my interest for the whole play. Congratulations to The Hunters Hill Theatre on a strong opening night performance.

The Hunters Hill Theatre present The Ballad of Maria Marten, performing at Club Ryde.
Running time: 130 minutes (including interval)
June 7 – June 24, 2024
Tickets: $32 concession and groups of 10, $35 adults
www.huntershilltheatre.com.au

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Spanish Film Festival: Jokes and Cigarettes

Jokes and Cigarettes

Jokes and Cigarettes Rating

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Director David Trueba says of his film Jokes and Cigarettes – “This is a film about humour, and about survival. Eugenio was one of the most popular comedians of the Transition. Everything about his appearance was at odds with humour: a serious man, with no gestures, hiding behind tinted glasses and a black shirt, with a lit cigarette behind a microphone, who would be the one to make a whole country laugh. But… what was hidden inside him?”

Directed and written by multiple Goya Award winner David Trueba and starring David Verdaguer in a virtuoso performance, Jokes and Cigarettes tells the story of the famous Catalan comedian Eugenio, the chain-smoking comedian known for his deadpan delivery, his smoked glasses and his trademark total black attire. It concentrates on his formative years as a comedian during the 60s and 70s, where he became a fixture on the TV sets of every Spaniard.

Barcelona, late 1960s. A young jeweller named Eugenio meets Conchita on a bus and it is smitten. Eugenio learns to play guitar to follow Conchita a singer, and, despite stage fright, they start to play together. When Conchita leaves Barcelona for two weeks, she convinces Eugenio to perform solo and Eugenio becomes a phenomenon in the city’s underground comedy scene. Helped by Conchita, he creates his comedy ego–the dark glasses, the black shirt, the barstool, the cigarettes and the high ball glass–the character that would soon become an unexpected success.

The producer Edmon Roch recalls, “I remember when I went to see the comedian who made people laugh before he’d even opened his mouth. I was ten years old, and I could see my parents laughing their heads off at the sight of this tall man sitting on a stool, stretching out his every movement with an unperturbed gesture before he started to speak. There was a liturgy, an expectation, a palpable ritual. Later, when I discovered Buster Keaton, I thought of Eugenio’s unflappable face, he’s still present in our memory and his humour lives on.”

Jokes and Cigarettes

David Verdaguer delivers a totally believable performance as Eugenio. His deadpan delivery as a comedian is perfection contrasting with his love for his wife and son. I particularly enjoyed the scene where he drops in on his son’s school concert, surprising his son who is doing an impersonation of his father’s comedy act.

Carolina Yuste is compassionate, loving and also totally believable as Eugenio’s wife, Conchita. Her early scenes with Verdaguer are a joy to watch and her death scene is a tearjerker.
Beautifully photographed, Jokes and Cigarettes also has a magical soundtrack of 60s and 70s Catalan music.

Jokes and Cigarettes is a film about humour and survival that explores what was hiding behind that serious man that made a whole country laugh!

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Bernie Dieters Club Kabarett

Bernie Dieters Club Kabarett

Bernie Dieter’s Club Kabarett Rating

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Bernie Dieter is back with a bootylicious BANG and its settings on stun!

Dare to enter if you can handle the heat. A sultry fusion of circus, song and sexy burlesque, where the thrill of the centre ring meets the seduction of the velvet curtain. Temptation breaks all the boring boundaries and sinks itself into your lap. Ach, mein Gott! What a ride! You must see it darling- it’s BEAUTIFUL!

Like a glittering diamond in the rough under the dome of the Moore Park Spiegeltent, ‘Bernie Dieter’s Club Kabarett’ is a lesson in surrendering to the decadence of hedonism and celebrating the human form in all its glory. Settled within the intimate shadows and velvety atmosphere, we are offered a tasty blend of gritty underground danger and pure, unadulterated flair without ever tipping the scales into crassness or whimsy. This requires astounding skill, my friend.

What’s the X-factor that makes this experience so uniquely delicious? It captures and embraces the unbridled spirit and liberated essence of Weimar-era cabaret. This show is a thoroughbred, real deal cabaret that knows exactly how to deliver and doesn’t hold back. Vibrantly avant-garde and at times ironically grotesque, it provocatively pushes buttons, relishing in its own signature sauce of salaciousness. A big juicy f**k you to conformity and the mundane.

Talent upon talent upon talent. The spotlight ignites seven heavenly bodies – titillating tornadoes of effortless circus expertise. Our hair is literally blown back, our eyes ache from the dazzle, our spirits soar with the thrill of it all. This is a full on fatal attraction of strength, skill, and seduction in the form of a mesmerising array of aerial feats, fiery displays, hoop artistry, whip cracking and contortionism. Eight outstanding acts deliver the perfect balance of clowning and spell binding agility, each one jaw-droppingly unforgettable in its own way and expertly woven together by the quick-witted banter of the incomparable Mistress of Ceremonies, the marvellous Miss Dieter, a ringmaster-class of song and repartee.

How can I possibly describe this powerhouse of a woman? She’s a vocal force, delivering numbers with bodacious energy and precision that’s both captivating and rare. Backed by a very tight and pulsing 3 piece band, Dieter fearlessly embraces contrasts, pivoting from unbridled ferocity in ‘Rebel Yell’ to tender vulnerability in a haunting rendition of ‘Fake Plastic Trees’. A presence that’s both commanding and nuanced, she weaves a sonic tapestry that’s utterly immersive; she defies expectations and forges a connection that’s both raw and profound. Dieter IS cabaret.

The ultimate wild child of the Club circuit family, ‘Bernie Dieter’s Club Kabaret’ shatters the mold, of leaving similar variety shows for dust. The finale is a glorious personal homage to the alchemy of art and drinking, where transformation and reinvention converge in a dazzlingly gutsy and original song.

As you gather your wits to depart, the stage lies in perfect disarray, a telltale testament to the night’s divine debauchery. Littered with party popper innards, discarded costumes, confetti, shreds of balloon rubber, feathers and a spray of white powder which I suspect may represent an illicit substance 😉 This is the aftermath of a night of extravagant fun.

Bernie, you devil, you’ve done it again! You’ve released a kaleidoscope of creativity and set the bar ridiculously high with a night that revisits and then rewrites the rules of cabaret. The impossible is now possible and your imagination knows no bounds.

This is the ultimate winter retreat from the chill of a turbulent world. Indulge in the warmth of Dieter’s organised chaos to help you forget and play for a while, to remind you of the unapologetic, permissible pleasures of being human. All are welcome. So leave your inhibitions at the door, grab your favourite poison and sit back as the candles and stage are lit for a night you won’t forget.

Danke Darling Dieter!

‘Bernie Dieter’s Club Kabaret’ plays at Sydney Spiegeltent Moore Park Entertainment Quarter until July 28th. See https://www.entertainmentquarter.com.au/event/bernie-dieters-club-kabarett/ for details.
What are you doing??? Click the link and hustle those tickets!

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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